The Exotic and the Beautiful by Jamm Design Ltd

the Exotic and the Beautiful the world in colour VOLUME III

886

PYNE, James Baker. Lake Scenery of England by J.B. Pyne (coloured view) Drawn on Stone by T. Picken. London, Day & Son Lithographers to the Queen, and published by William Miller, 1859.

the Exotic and the Beautiful

S We are so pleased to share with you Volume III of The Exotic and the Beautiful. It is especially meaningful at this time as we reflect on the life of our son, Robert Thomas Bobins.This volume is a tribute to Robert and the great passion that we shared as a family for history and the arts.

Norman and Virginia Bobins In Loving Memory Robert Thomas Bobins January 20, 1968 - May 9, 2009

With warmest wishes from all of us at

Making More Possible

the Exotic and the Beautiful the world in colour THE COLLECTION OF COLOUR PLATE BOOKS FROM THE LIBRARY OF NORMAN R. B OBINS

VOLUME III including the Americas, Europe, especially the United Kingdom and France, the Mediterranean, Levant, Far East and Pacific regions & a section on Military & Sporting Christine Thomson

PUBLISHED BY

Bernard J Shapero Publishing

Published by Bernard J Shapero Publishing 2010 Copyright ÂŠ Bernard J Shapero Publishing 2010 Christine Thomson has asserted her right under the Copyright, Designs and Patents Act, 1988 to be identified as the author of this work All rights reserved. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisherâ&#x20AC;&#x2122;s prior consent in any form of binding or cover other than that in which it is published and without similar condition including this condition being imposed on the subsequent purchaser. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages While the publishers have made every reasonable effort to trace the copyright owners for any or all of the photographs in this book, there may be some omissions of credits, for which we apologise Photography: Louie Fasciolo, Michael Tropea First published in Great Britain in 2010 by Bernard J Shapero Publishing 32 Saint George Street London W1S 2EA A CIP catalogue record for this book is available from the British Library ISBN 978 0 9551701 0 2 Design & production by Jamm Design Ltd. Printed and bound in Great Britain by Park Communications

PR EFAC E

his third volume of Norman Bobins’s extensive collection depicting the world in colour, mainly in aquatint and lithography, and including one or two fine examples of steel engraving, lives up to the first two volumes in quality and interest. The section on the Americas contains the earliest and also the finest and most innovative Americana of this period. A remarkable copy of Karl Bodmer’s Reise in das Innere Nord-Amerika… displays the rarest of the North American Indian tribes at a juncture when their way of life in the West was about to disappear forever as settlers crowded in from the East. Bodmer’s depictions of these American Indians for his employer and travelling companion, Prinz Maximilian zu Neuwied, are the best of their kind, showing these tribes leading their traditional lives in peace.This is also, bibliographically, the best possible copy. In Shaw and Hill’s Picturesque Views of American Scenery, the library contains another landmark colour plate book: the first published depictions of North American scenery.This genre was also developing in importance in Europe at this time, perhaps for the same reasons: the rapid increase in industrialization and consequent expansion of the cities, distancing rural life. A third important work on North America, by the artist,William Guy Wall, shows views of the Hudson River and ends with a plate of NewYork City, aquatinted by John Hill after Wall’s paintings. Another significant title, this from the post-Civil War era,

is Thomas Moran and Ferdinand V. Hayden’s survey in northwestern Wyoming, illustrated in chromolithography. This publication would eventually lead to the establishment ofYellowstone National Park. Also included in this section is an important work on South America Antiquities Mexicaines…by Captain Guillaume Dupaix, giving a description and images of the Mayan archaeological finds from a site about to disappear as Mexico fell into revolution. Four remarkable plates by the English court painter John Christian Schetky must also be mentioned: depicting the battle between the frigates Shannon and Chesapeake outside Boston harbour, the most important encounter of its kind which took place in 1813. Schetky, famous for his marine paintings, was Court Painter to both George IV and Queen Victoria. This is not to ignore the other important works of illustrated travel in this volume, such as Matthew Flinder’s first scientific expedition to Australia, with the artist William Westall and colleagues there to produce a visual record. An exceptional copy of Thomas and William Daniell’s Oriental Scenery with its handcoloured aquatinted plates offers a pictorial survey of Indian scenery and, its remarkable mixture of Hindu and Moslem architecture, which was to have such an influential effect on European art and on Europe’s increasingly Romantic perception of the picturesque. This is again with this third volume a treasury of the “Exotic and the Beautiful”, an Enlightenment concept linked to foreign travel by

authors of the eighteenth century, at the time when the art of aquatinting first made its appearance and when this collection, apart from one or two exceptions, has its beginnings. In the nineteenth century, landscape design and architecture are well represented in this catalogue in the section on British related works. (It should be noted that the British Museum recently produced a magnificent catalogue to accompany the exhibition to celebrate the re-opening of their Great Room, entitled Enlightenment Discovering the World in the Eighteenth Century, which covers not only the upsurge of books published, but the great libraries and their remarkable collections which were formed at this time.) With regard to earlier works, this catalogue contains an unusually magnificent and almost unique handcoloured copy of Captain Caspar van Barlaeusâ&#x20AC;&#x2122;s work on Brazil (1647) and a copy of Johannes Kipâ&#x20AC;&#x2122;s famous engraved work displaying birdâ&#x20AC;&#x2122;s eye views of the country mansions and grounds of Great Britain (1708); each of these works with plates engraved on copper. This collection is not only about travel, but about the talented artists, often young, who accompanied expeditions to many hitherto unexplored countries. It is also about the artists and engravers who stayed at home, working and experimenting in new mediums which would bring their own work, or that of other artists, before an ever increasing audience.The beginning of the 19th century saw not only the development of lithography by Alois Senefelder, adopted in Europe following the publication of his handbook in 1818 and greatly

promoted by its adoption by Engelmann in his studio in Paris, but also the proliferation of the art of caricature. Social comment, which had had its beginnings at the end of the eighteenth century, became ever more prevalent and popular, with England and France in particular, sharing and exchanging ideas and techniques. It was also a period when regional and rural life all over Europe was examined and portrayed, as well as that of the towns and cities. This followed the major political upheavals and wars which had changed the face of life in Europe, and possibly the United States, at the end of the eighteenth and in the early nineteenth centuries as their populations increased. The works in these combined three volumes provide a history of discovery and travel in image and text during a time in which travel became faster and easier, with steam entering the equation on land and sea (one of the Schetky engravings of an American and a British ship fighting it out under full sail also shows a steam ship disappearing in the background, while a French artist produced a series of views from a railway carriage window, and the Austrian Imperial couple travelled on the inaugural rail journey to Trieste, among other works of technological advance). Importantly, however, this is a reference work in the form of a bibliography of an important illustrated collection, added to significantly in the five years since the publication of Volumes I and II. This has been and continues to be a pursuit by a collector who knows and appreciates his subject, with regard to social movements and history, as well as art and the history of printing.

Contents ONE

THE NEW WORLD, INCLUDING THE UNITED STATES, MEXICO, SOUTH AMERICA, THE CARIBBEAN

TWO

THE OLD WORLD: UNITED KINGDOM & IRELAND INCLUDING TRAVEL & TOPOGRAPHY; ARCHITECTURE, DESIGN & GARDENING; CUSTOMS, COSTUMES

& CARICATURE

THREE

FRANCE INCLUDING THE CARICATURIST HENRY MONNIER

110

FOUR

NORTHERN & EASTERN EUROPE INCLUDING THE LOW COUNTRIES, SCANDINAVIA, NORTHERN RUSSIA & POLAND

168

FIVE

CENTRAL & SOUTHERN EUROPE INCLUDING AUSTRIA, THE AUSTRO-HUNGARIAN EMPIRE & DALMATIA,

SWITZERLAND, GERMANY, ITALY & SPAIN

188

SIX

THE MEDITERRANEAN, LEVANT, NEAR EAST & AFRICA GREECE & TURKEY; THE CRIMEAN & CASPIAN REGIONS; ARABIAN PENINSULA; THE BALEARIC ISLANDS & MALTA INCLUDING

224

SEVEN

THE REST OF THE WORLD INCLUDING THE INDIES, FAR EAST, AND THE PACIFIC

238

EIGHT

MILITARY & SPORTING INCLUDING MILITARY CAMPAIGNS, UNIFORMS & NAPOLEON;

SPORTING, PASTIMES & SATIRE

258

Bibliography and Glossary of Terms

306

Index of Authors & Artists

310

Publishing prints allows a wider distribution and a deeper dissemination of an artistâ&#x20AC;&#x2122;s work. A book is a total work of art. It has an architecture, the characters resemble the stones, the paper is its material, and the illustrations are the decorations of this edifice. Aime Maeght, Galerie Maeght (in house periodical Derriere le Miroir).

800

“THE NEW WORLD”: INCLUDING THE UNITED STATES, MEXICO, SOUTH AMERICA, THE CARIBBEAN

800

ARAGO, Jaques Etienne Victor. Souvenirs d’un Aveugle,Voyage autour du Monde. Ouvrage enrichi de soixante Dessins et de Notes Scientifiques. Paris, Gayet et Lebrun, 1840. Third and best edition (Hordern). Four volumes in two, large 8vo, 2 engraved portraits, one of Jacques Arago and the other of Francois Arago, 60 handcoloured lithographed plates showing portraits, costumes and scenes of the life and customs of the people of New Zealand, Timor, New Guinea, Hawaii, the Mariana Islands, the Caroline Islands, etc., all after drawings by the author, text (4), 400; (4), 423 (1 blank); (4), 399, (1 blank); (4), 451 (one blank) pp., contemporary quarter roan over marbled boards. Borba de Moraes, pp. 44-45 (other editions); Forbes, Hawaiian National Bibliography 1189; Martin 22; Sabin 1866 (lists a Brussels edition of 1839 and this edition of 1840 plus a new edition of 1843 and a sixth edition of 1850, all Paris).

A scarce and beautifully illustrated edition of the travel account by the draughtsman of one of the most important voyages of exploration of the early nineteenth century, the

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circumnavigation of the “Uranie” under the command of Captain Louis Freycinet in the years 1817-1820.The voyage was organised by the French government, under the restored royalty, to show the flag around the world and to make scientific observations on geography, magnetism and meteorology. The official journal of the voyage was published by Captain Freycinet himself, and special accounts of the zoology and botany studied during the voyage were published by the Doctors Quoy and Gamard, and the pharmacist of the voyage, Gaudichaurd. Special attention is given to the peoples the artist met with, the plates also depicting the peoples and life on the Sandwich Islands, New South Wales, New Zealand, Guinea, the Mariana Islands, Caroline Islands, Sandwich Islands, New South Wales, New Zealand, Tierra del Fuego and the Falklands, where the “Uranie” was shipwrecked.The captain was able to buy the American ship the “Mercury”, which he renamed “La Physicienne”, and on which he sailed again to Rio de Janeiro and back to Le Havre. First published in 1822, Arago’s account met with much success. The plates were drawn from Arago’s original sketchbook and the text was enlarged with scientific notes on natural phenomena.

801

AUDUBON, John Woodhouse. Illustrated Notes of an Expedition Through Mexico and California. New York, Published by J.W. Audubon, 1852. First Edition. Folio, 4 handcoloured lithographed plates after Audubon by C. Gildenmeister, printed by Nagel, with half green morocco folding case. Rare handcoloured issue of a contemplated and more extensive book which was never completed.

Bennett, p.5; Cowan, p.23; Graff 111; Howes A390; Kurtz, Gold Rush 21; Reese, American Color Plate Books 41.

802

BAERLE, Caspar van - [BARLAEUS]. Rerum per Octennium in Brasilia et alibi nuper gestarum sub Praefectura Illustriani cometis J. Mauritii Nassoviae etc. … Historia. [Events which recently took place in Brazil and elsewhere over an eight year period.] Amsterdam, Johannes Blaeu, 1647. First edition. Folio, printed title with woodcut publishers logo, engraved pictorial title, etched portrait of Maurice of Nassau, finely handcoloured, 56 large etched, numbered plates and maps, double page and mounted on guards, plates by Th. Matham, including large folding views of Recife and S. Paolo de Loana, and an unnumbered double page map of Chile, some maps with elaborate vignette cartouches showing scenes of native life, compass rose and ships, all handcoloured, frontispiece, portrait, title page vignette and other details heightened in gold, handcoloured double-page portrait map, details handcoloured, extremely rare to find this work complete and finely handcoloured and heightened with gold by a contemporary hand as here, contemporary panelled calf gilt, spine gilt in compartments, Carthusian arms on sides. Borba de Moraes I, pp.78-79; European Americana 647/9; Sabin 3408.

802

Rare complete handcoloured copy. Only a very small number are known to have been coloured at the time of publication, and this colouring must be considered of an extremely high quality.The work was commissioned by the Governor of the Dutch Colony at Pernambuco, Johan Mauritz van Nassau-Sieges, a remarkable man, not only a military leader but also well versed in the arts. He persuaded a group of artists and craftsmen to leave the Netherlands for New Holland, amongst them Frans Post (1612-1680), a gifted landscape artist who came to be known as “the Caneletto of Brazil.” His engravings were incorporated into the present work which describes not only Johan Mauritz’s reign in Brazil, but also the country and its inhabitants.This work and this copy must attract superlatives. Edited by Johannes Blaeu, the work is of great topographical significance and the finest early pictorial record of Brazil.

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803

BIRCH, William. The Country Seats of the United States of America, with some Scenes connected with them. Springland, near Bristol, Pennsylvania,William Birch, 1809. Oblong small folio, handcoloured engraved title and section title, 18 handcoloured engraved views, publisher’s original wrappers with letterpress title label on upper wrapper, rear wrapper in facsimile, cloth chemise and morocco-backed slipcase. Howes B460; Reese, Stamped with the National Character, 2; Sabin 5531; Snyder, “William Birch: His Country Seats of the United States” in PMHB, Vol. 81, No. 3.

This beautiful work is among the earliest American colour plate books and the first on American scenery.William Birch was among the group of British artists who emigrated to the United States in the 1790s, bringing with them a strong interest in landscape representation and the picturesque— popular subjects in Britain—and a belief in the important place of the professional artist in society. Birch’s work and career correspond to the early stages of the “naturalization” of these ideas into American culture. Birch had absorbed these notions in the circle of Sir Joshua Reynolds, where he primarily painted miniature enamels. This speciality relegated Birch to a secondary position as a practitioner of a “minor art” and “copyist”. He aspired to more, however, and published his first picturesque views, the landscape 803

paintings of his London contemporaries his models. Birch emigrated to Philadelphia in 1794 after the death of Reynolds and his most important British patrons; there he discovered opportunities previously unavailable to him. He issued the first book of American views, The City of Philadelphia in 1800; several of his fellow immigrants unsuccessfully attempting such publications. Birch was unusual in expressing American values of democratic, collective achievement through a British medium. The patronage for this work reveals the interests of wealthy Americans in the period. Due to the association of landscape representation with garden design, the success of The City of Philadelphia led to commissions for landscape gardens, and to his final set of views,The Country Seats of the United States (1808). This work promoted Birch’s own garden designs. Many of the ideas on landscape which Birch illustrated, including country homes and gardening, found their way into The Country Seats and in his autobiography and were crucial to American artists and designers later in the nineteenth century, although these ideas were not immediately presented in a way to appeal to contemporary viewers (David B. Brownlee, University of Pennsylvania).

804 804

BODMER, Karl [and] Prince MAXIMILIAN ZU WIED-NEUWIED. Reise in das Innere Nord-Amerika in den Jahren 1832 bis 1834. Koblentz, J. Hoescher, 1839-41. First edition. 4to and large folio, 4 volumes (2 volumes of text, 4to; 2 volumes of plates, large oblong folio), 81 fine plates printed in colours and heightened by hand, all but one volume uniformly bound in contemporary diced calf over marbled paper covered boards, spines gilt, the small plate volume in contemporary half calf over marbled boards, all contained in individual leather boxes. Abbey Travel 616; Howes M443a; Rader 3562; Savin 47014; Wagner-Camp 76:1; Goetzman, et al. Karl Bodmer’s America (1984).

This is an exceptional copy of this famous work in its most deluxe issue, all plates printed in colour and finished by hand, and with the plates on large paper. This publishing masterpiece must be considered the pinnacle of travel book production and of the illustrated book, specifically of the illustrated works devoted to North American Indians and life on the American frontier. It is the result of an epic journey which took place at a time when the mass migration of settlers and pioneers was about to irrevocably alter the unspoilt West. Karl Bodmer (1809-1893) was engaged by Prince Maximilian (already famed for his earlier explorations in Brazil) to provide a visual record of his travels among the

Plains Indians of North America during 1833-1834. Bodmer’s efforts show great versatility and give a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. The most important part of the travels of Prince Maximilian and Karl Bodmer started in St Louis, whence they proceeded up the treacherous Missouri River along the lines of the forts established by the American Fur Company. They then went on to contact the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity.Transferring to steamer, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow Tribes. They then encountered the Assiniboins at Fort Union, the main base of the American Fur Company. In a necessarily smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet Indians. From this westernmost point reached, it was considered too dangerous to continue; the return journey downstream began with the difficulties and discomforts of winter.An exceptional record of a remarkable and important journey. It is possible that Bodmer learnt his art from an uncle, a Swiss landscape painter and engraver, Johann Jakob Mayer. Bodmer moved to Paris, where he met his patron, Maximilian, then planning an ambitious scientific expedition to North America. Bodmer is famous for his sketches of the American wilderness and his careful anthropological detail. His masterpiece, the “Bison Dance of the Mandan Indians”, is known only in aquatint illustration based on Bodmer’s watercolours. THE

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805

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805

COCKBURN, Lieut. Col. James Patterson. Falls of Niagara. London, Ackermann & Co., 1833. Large oblong folio, 6 colour printed aquatint plates finished by hand, engraved by C. Hunt and others, straight grained blue morocco, multiple gilt borders, spine flat and gilt in compartment.

The Drawings of James Cockburn. A Visit through Quebecâ&#x20AC;&#x2122;s Past (1979)/ W.M.E. Cooke, W.H. Coverdale Collection of Canadiana; Paintings Watercolours and Drawings, pp. 43-59; De Volpi, The Niagara Peninsula, plates, 17-22. Harper, The Early Painters and Engravers in Canada, p. 69; Spendlove, The Face of Early Canada, p. 51. Not in Sabin and apparently not in Abbey Travel. The plates were variously engraved: C. Hunt (4), C. Bentley (1) and J. Edge (1), all after Cockburn. Cockburn was an English painter, illustrator, writer and soldier active in Canada. As a cadet he was instructed in topographical drawing by Paul Sandby, who was on the staff at Sandhurst Military College. Cockburn sketched in Europe and gained a reputation for his travel books relating to Italy and the alpine regions of Switzerland. He travelled to Quebec as Commander of Artillery.

806

DAVIE, John Constantine. Letters from Buenos Ayres and Chile with an original history of the latter country. London, R.Ackermann, 1819. 8vo, half-title, title, 3 leaves, text 324, 6 handcoloured aquatint plates. Bound in half calf and marbled boards. Abbey Travel 697; Sabin 18746; Prideaux, pp.334, 378.

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807

808

DUPAIX, Capt. Guillaume. Antiquities Mexicaines Relation des trois Expeditions du Capitaine Dupaix, ordonnes en 1805, 1806 et 1807, pour la recherche des antiquites du pays, notamment celles de Mitla et Palenques: accompagnee des dessins de Castaneda, et d’une carte du pays explore; suivie d’un parallele de ces monuments avec ceux de l’Egypte, de l’Indostan et du reste de ancien monde, par M. Alex Lenoir; d’une dissertation sur l’origine de l’ancienne population des deux Ameriques et sur les diverses antiquites de ce continent par M.Warden; avec des discours preliminaries par M. Ch. Farcy, et des notes explicatives, et autres documents par M.M. Bardere, de Saint-Priest et plusieurs voyageurs qui ont parcour l’Amerique par le Roi Charles IV. Planches de la premiere Expedition [and] Antiquities Mexicaine. Planches de la troisieme Expedition. Paris, Imprime de Jules Didot l’Aine, Bureau des Antiquities Mexicaine, 1834-36.

EMPSON, Charles. Narratives of South America, illustrating Manners; Customs and Scenery; containing also numerous Facts in Natural History, collected during a four years’ Residence in Tropical Regions. London, printed by A.J. Valpy … and published for the author by William Edwards, 1836.

First edition. Parts I-II in one volume, atlas with plates in second volume, the latter large folio, handcoloured lithographed title in volume 2, map and 166 lithographed plates on 161 sheets (l double-page), 152 either tinted or handcoloured, floor plans, contemporary red morocco backed marbled boards, spines raised bands gilt. This work appeared in 13 parts, the last counting as two various issues. Plates after Catherwood, Kingsborough and Nebel. The majority of the plates after Jose Luciano Castaneda, who accompanied Dupaix on all his three expeditions, which show mainly buildings and artefacts which were lost soon after the expedition when Mexico fell into extended revolution. Sabin 40038; Brunet I, 32; Palau I, 85 (not in Abbey Travel).

Charles Empson at the age of 29 in 1824, left England for South America, spending time in the northern section of the continent in what is now Colombia. He travelled with his friend, Robert Stephenson, son of railway engineer George Stephenson. The two friends left Colombia at the end of July 1827, bringing with them precious objects of pre-Colombian art, including some gold artefacts which Charles Empson later exhibited in Newcastle-upon-Tyne. Sadly some of their collection was lost in a shipwreck at the entrance to NewYork harbour. Following his travels Empson set up as a fine art bookseller. He later moved to Bath where he dealt in pictures, opening a museum, which perhaps functioned more as an art gallery, as it also featured the work of local artists. One of Empson’s acquaintances in Bath was Charles Louis Napoleon (1808-1873) who later proclaimed himself as Emperor Napoleon III. It should be noted that the number of plates in this copy agrees with Tooley’s collation and that of the Keynes copy. Abbey Travel lists plates 15 & 16 as extra plates. Plates 6 & 8, the kitchen and the Bridge at Mariquita, are coloured lithographs, the remainder of the plates are coloured etchings. The plates of views are by Ackermann. Abbey writes that the plates are “of a high quality artistically and technically”.The text is in the form of a series of narratives, which offer vignettes of life in South America at this time. Tooley mentions that those mounted coloured plates, usually bound in a folio as here, carry the signature “From the sketch on the spot by Charles Empson and one of the Coleoptera plates, on the road from Caracas to Bogota”. Tooley cites a later edition with plates uncoloured, 14 views and bound with text, dated 1836. This would indicate that this text was in folio format.

For rarity this handcoloured issue is undoubtedly in first place. Magnificent plates depict the recently discovered antiquities of Mexico, particularly Mayan from Mitla and Palenque where Dupaix excavated 1805-1807. This an unusually good copy with plates in splendid colouring— most of these after Jose Luciano Casteneda, who accompanied Dupaix on all three of his expeditions. There is a second part with plates attached to the various researches on the Diverses Antiquities d’Amerique by M. Warren. This work appeared in various issues (plates coloured, plates on Chinese paper). Plates in two sections, I: frontispiece, 32, 69, 56 and 9 supplementary plates; Section II: 10 plates, which are attached to M. Warden’s research. In total 167 lithographed plates. Capt. Dupaix’s Spanish text accompanies the translation, plus an important text on Nueva Espagna. Lord Kinsborough produced his own work on this same subject at his own expense in 9 volumes It was a work of the greatest magnificence published by Robert Havell (1831-48; large folio with more than 1000 plates). Some copies of this were published on vellum. There is a vellum copy in the British Library and Bodleian libraries as well as listed in Dibdin.

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Folio atlas of plates, text 8vo, together two volumes, title, dedication (1 leaf), Notice (1 leaf), Preface, pp. vii-xi; contents pp. xii, to xvi; text, pp. 1-322, imprint A.J. Valpy at foot of p. 322, text to coleoptera plates, one of these drawn and engraved by G.B. Sowerby Jnr., the other by Miss Taylor, 2ll., double column, versos blank,16 handcoloured engraved plates, illustrations of manners, customs, scenery, containing numerous other facts of natural history, the whole collected during a four years’ residence in tropical regions, bound in presentation binding. Tooley (1954) No. 210; Abbey Travel 702; Sabin 22548.

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809

New Orleans Character. FREMAUX, Leon J.

[New Orleans], Peychaud & Garcia, 48 Camp Street, 1876. Folio, title with oval handcoloured vignette, 16 handcoloured lithographed plates, each captioned beneath, modern half red morocco over black cloth-covered boards. Bennett, p. 44; Howes F362; Reese, Stamped with a National Character, 93; Hiler p. 342.

A classic American colour plate book which offers a new and improved take on the twin European traditions of suites of plates of regional costume and street cries. “Costume books and illustrations of typical trades and occupations so common in European colour plate books are comparatively rare in America.This book of New Orleans street characters may be the best example of the genre printed in the United States” (Reese). Fremaux, a Louisiana native, empathised with his subjects. He has managed to truly capture not only the individuals but to embody the varied and colourful character of New Orleans. Fremaux was an engineer and cartographer by training and trade, which may have helped him to achieve these penetrating observations.

810

GAY, Claudio. Atlas de Historia Fisica y politica de Chile [segun documentos adquiridos en esta Republica durante doce annos de residencia en ell, y publicado bajo los auspicious del Suprema Gobierno: por Claudio Gay, Ciudadano Chileno]. Paris, E.Thunot y Ca., 1854. Folio, 79 engraved or lithographed plates, plans or maps (comprising: 1 tinted lithographic portrait of the Chilean Minister of the Interior Diego Portales drawn on stone by Ate.Legrand, 1 large folding engraved map handcoloured in outline, 20 other engraved maps and plans, all handcoloured in outline, by Erhard and others after Captain Robert FitzRoy, Captain King, Gay, and others, 2 handcoloured lithographic plates of antiquities after Delahaye, 53 lithographic views and costume plates [14 handcoloured, 1 printed in three colours, 38 tinted] drawn on stone by F. Lehnert and others after Rugendas [8], J. Gandarilla [1] and Gay [44]). Bound in half dark blue morocco over marbled boards. Rare atlas volume to Gay’s Historia Fisica y Politica de Chile. Palau 100869; Sabin 26779; G.Feliu Cruz Historiografia colonial de Chile I, 49-55, 68-82 and 334-354.

810

809

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811 811

812

GOERING, Anton. VonTropischenTieflande zum Ewigen Schnee. Eine Malerische Schilderung des schoensten Tropenlandes Venezuela. Leipzig, Adalbert Fischer, [c. 1892].

GUILDING, The Rev. Lansdown. An Account of the Botanic Garden in the Island of StVincent, from its first establishment to the present time. Glasgow, Richard Griffin and Co., Printed by Andrew and John M. Duncan, printers of the University, advertisements of books published by Richard Griffin bound in, 1825.

Large 4to, 76pp. text in German, map, 12 fine chromolithographed plates mounted on card, 54 wood-engraved vignettes in text, original publisher’s decorated cloth backed boards, title in gilt on pictorial upper cover, decorated endpapers, gilt edges. Palau 103132; BN 918.7; G-597; Sanchez 338; Blay 201.

The geographical illustrations are from paintings and sketches by the author, and the beautiful reproductions of the large pictures give a vivid idea of the wealth of colour in plant, soil and sky as one ascends the tropical plains of Marecaibo [sic]. “An enthusiastic description of the natural characteristics of WesternVenezuela as studied by the author during a long sojourn in the country … Venezuela is the most beautiful tropical country” (Maria Luisa de Blay, Journal Vol. VI, pp. 490, 1895).

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4to, dedication to W.J. Hooker, 4 handcoloured lithographed plates, including frontispiece, a series of views by J. Watson after Guilding, also a plan of the Botanic Garden, original publisher’s blue boards, paper label on upper cover, loosely inserted is a one-page leaflet announcing the publication of the book, dated from St Vincent, Feb. 6th 1826. Presentation copy from the author (inscription inside upper cover) Abbey Travel 691; Cundall West Indies 1930a; not in Sabin.

Rare work on St Vincent. Abbey records a contemporary prospectus for distribution of the work in the island, which states “only a few copies have been sent out for sale, but Mr Draper will receive at the Gazette Office the names of those who are disposed to encourage the Bookseller who printed it.” It is a meticulous account of the Botanic Garden, with charming lithographic views, followed by an appendix comprising letters from Dr Anderson to the Secretary of the Society of Arts, relating to plants cultivated in the garden, and a catalogue of plants (Abbey Travel). Guilding was a Fellow of the Linnaean Society of London, and Member of the Geological andWernerian Societies of Edinburgh.

813

HAYDEN, Ferdinand Vandeveer (1829-1887) [and] Thomas MORAN (1837-1926). The Yellowstone National Park and the Mountain Regions of Portions of ldaho, Nevada, Colorado and Utah. Described by Prof. H.V. Hayden […] Illustrated by Chromolithographic Reproductions of Water-color Sketches, by Thomas Moran. Boston, L. Prang and Co., 1876. Folio. 48 pages of text, 15 chromolithographs, each on original card mounts, 2 maps, half black morocco over black pebbled cloth boards, upper cover stamped in gilt. Howes H338; Graff 1830; Eberstadt l27t3l0; Bennett, p. 80; K.M. McClinton Chromolithographs of Louis Prang p. 159; Joni Kinsey, “Moran and the Art of Publishing” in Thomas Moran (Washington: 1997), pp. 318-319; Clark, Thomas Moran: Watercolours of the American West, pp. 43-45; Reese, Stamped with a National Character 99.

Issued in a limited edition with the prints loose in a portfolio, and thus easily extracted for display, only few complete copies have survived. This is a complete copy of Moran’s finest published work and a masterpiece of chromolithography; the greatest American colour plate book of landscape scenery from the post-Civil War era. At the time of its production in 1876, it was certainly the most elaborate and successful work of chromolithographic printing undertaken in the United States. The stunning views in this book are based on Thomas Moran’s work during FerdinandV. Hayden’s l87l expedition to northwestern Wyoming, the first survey of what would become Yellowstone National Park. During that summer, Moran laid the basis for some of his most famous works rendered in watercolour, oil and here in chromolithographs.These plates were the first to adequately depict the spectacular scenery ofYellowstone, and have long been considered the most skillful and striking prints of the park. Indeed, these images helped define the American West for much of the public.

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814

LE CAPELAIN, John [and] DICKSON, James. Panoramic Views of Rio de Janeiro and its surrounding Scenery … from original Sketches by Ed. Nicolle Junr. Esq. Liverpool, Baines & Herbert, publishers, [and] London, Hanrart printers, [c. 1848]. First edition. Oblong folio, lithographed calligraphic title, 10 fine handcoloured lithographed plates by James Dickson from paintings by Le Capelain, after sketches taken on the spot by Edward Nicolle, no captions or imprints, images edged in black, some foregrounds heightened with gum Arabic, plates on guards, prospectus leaf or wrapper with list of plates tipped in opposite title, contemporary (or original) black morocco incorporating a Romantic design in blind and gold, spine raised bands, gilt ruled, inner gilt dentelles, white watered silk doublures. Borba de Moraes, 264; Abbey Travel 710 for tinted copy only; not in Bosch.

814

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Perhaps the rarest of the colour plate books relating to Brazil and the most beautiful.Abbey only lists an uncoloured copy. The Bay of Rio de Janeiro, surrounded by exotic and luxuriant vegetation, with its dramatic hills and mountains, provided the perfect subject matter for Le Capelain. Borba de Moraes describes this work as “rare and expensive”. Le Capelain was best known for his watercolours of Jersey.This, his final work, was published posthumously and contains some of his strongest and finest images. Baines & Herbert of Liverpool appear to have specialised in travel literature at this time.

815

LEWIS, H. and George B. DOUGLAS. Das illustrirte Mississippithal, dargestellt in 80 nach der Natur aufgenommenen Ansichten vom Wasserfalle zu St Anthon an bis zum Golf von Mexico, eine Entfernung von ungefaehr 2300 Englischen Meilen von H. Lewis Landschaftsmeister aus St Louis, Missouri. Nebst einer historischen und geographischen Beschreibung der den Fluss begraenzenden Laender, mit besonderer Ruecksicht auf die verschiedenen den obern Mississippi bewohnenden Indianer Staemme [Text in German and English]. Dusseldorf, Arnz & Comp (Lithographic Institute) [185457]. [English translation published in Philadelphia in 1843]. First edition. Tall 8vo, title (on card) and following leaf within narrow ruled border as is text (431pp.), pictorial lithographic title, two engraved portraits, 78 chromolithographed plates (the title calls for 80 but this would appear to be arrived at by counting as two plates the double page view of New Orleans), the last plate a panoramic view of the river and St Louis, 19th century pebbled cloth, rebacked in morocco, raised bands to spine gilt ruled. Howes L312 “dd”, Sabin 40897; Graff 2474; Streeter Sale 1547; Jones 1376; Clark III, 345; Buck 589, Miles and Reese; Sabin 40807; Deak 552 [.13, 22.17, .4].

The work was originally produced in 20 parts, consequently bound copies vary in the placing of plates. Some plates captioned in English are described as strays from the simultaneously translated but not completely abandoned German edition. Some copies of the German edition have a corrected title page, dated 1854 (in which Douglas is only credited as the translator. Between 1846-48 self-taught artist Lewis travelled the length of the Mississippi making sketches. He pieced these together to make an 825-yard-long painting, a mammoth panorama of the Mississippi. It was exhibited as a moving panorama shown on a special machine that slowly unrolled the canvas while a speaker described the scenes. In 1848, Lewis and Düsseldorf publisher Arnz decided to make a series of lithographs based on the sketches.This consisted of 78 views with accompanying text by Douglas. The introduction quotes letters from the U.S. President, a number of Senators and Congressmen, and the Governor of Wisconsin praising the veracity of Lewis’s panorama: “This artwork is so faithful and accurate that even though we have been familiar with the beauty of the place for many years we can only with difficulty be persuaded to believe we do not have the landscape itself before our eyes.” The distance described down the Mississippi basin is around 2,300 English miles. The historical and geographical text in this work describes the river and its surrounding country, particularly concentrating on the upper Mississippi where the native Indians originated.The work was translated by George B. Douglas, from the original English text by H. Lewis.

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816

MATHISON, Gilbert Farquhar. Narrative of aVisit to Brazil, Chile, Peru and the Sandwich Islands during the Years 1821 & 22. With miscellaneous remarks on the past and present state, and political prospects of those countries by Gilbert Farquhar Mathison, Esq. London, [Printed for] Charles Knight, 1825.

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First edition. 8vo, title, xii, [1pp.], 478pp., 1pp. [errata], 2pp. (publisherâ&#x20AC;&#x2122;s adverts), 4 aquatint plates, folding engraved chart of the Sandwich Islands, verso with imprint, modern half calf over marbled boards, gilt. Prideaux pp. 255, 344; Sabin No. 46858; Abbey Travel 700; Hill 2: 1105.

More than one third of this work relates to Brazil, the remainder concerning Chile, Peru and the Hawaiian Islands. Information on Hawaii includes discussions on the natives, missionaries, government and the royal family, as well as shipping, specifically the kingâ&#x20AC;&#x2122;s speculation in the Canton trade.

817

818

MILBERT, Jacques Gerard. Itineraire pittoresque du Fleuve Hudson et des parties laterals de l’Amerique du Nord, d’apres les dessins originaux pris sur les lieux, par J. Milbert et lithographies by Victor Adam, Bichebois, Deroy etc. Paris, Henry Gaugain, [1828-29].

MOLLHAUSEN, Heinrich Baldwin. Tagebuch einer Reise vom Mississippi nach den Küste der Südsee. Leipzig, 1858.

2 volumes; text volume large 4to, pp. (4), lithographed title, xxxvi, 146 [ie 246] (2) (4) (257) (2); Atlas volume in folio, title and 54 handcoloured lithographed plates, contemporary green calf-backed boards. Sabin 48916; not in Abbey Travel.

25 copies of the folio atlas with its title and 54 plates were produced as proof impressions on Chinese paper and before the letter. The plates include views on the Hudson, in New Jersey, New York, Pennsylvania, the Niagara Falls etc.; an attractive and important illustrated work. Milbert on went to produce a second work.

4to, 16 lithographed plates (7 in colour, 6 tinted and 3 in black and white). Original black gilt-stamped cloth, rebacked with original backstrip laid down.

This book describes the experiences of Mollhausen, notable German artist and topographer, with the Pacific Railroad survey which investigated a potential route along the 35th parallel in 1853. Howes M713; Abbey 661 (ref);Wagner-Camp 305:1; Graff 2851; Sabin 49914: Streeter Sale 3135;WheatTransMississippi 955:Taft Artists and Illustrators of the Old West, pp.22-35.

817

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819

MOLLHAUSEN, Heinrich Balduin. Diary of a Journey from the Mississippi to the Coasts of the Pacific with a United States Government Expedition. London, Longman, Brown, Green, Longmans & Roberts, 1858. First English edition. 2 volumes, [32], 352pp; [12], 397pp., 19 lithographed plates, some coloured lithographs or coloured by hand, folding map, many woodcuts in text, original cloth gilt. Hill 1175; Wagner-Camp 305:2; Graff 2849; Howes M713; Sabin 49915; Streeter Sale 3134; Wheat, Transmississippi West, 4 (Map 956); Field Cowan, p. 435.

Mollhausen was the artist and topographer accompanying the party led by Lieutenant Amiel Weeks Whipple in the Pacific Railroad Survey and exploration of the thirty-fifth parallel in 1853. “Mollhausen’s account is regarded as more interesting than that published by the Official Railroad Survey” (Wagner-Camp). Mollhausen, as artist and naturalist, accompanied the expedition sent out under Whipple for the preliminary survey of the railway route to the Pacific Ocean. En route he devoted himself to a study of the Indians and their antiquities. The route was from Fort Smith in Arkansas across New Mexico and the Indian territories to the California coast at San Pedro. Hill also joins

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the consensus that Mollhausen’s was undoubtedly the best account of the Whipple expedition. The coloured lithographed plates, especially those depicting Indians of the Southwest Mohaves, Kioway, Ottoe and others, as well as the landscape scenes in New Mexico, are of particular note and are all after drawings by Mollhausen himself. Mollhausen was one of several German artists who joined the U.S. government expeditions and acted as official draughtsmen. He was considered the hardiest and boldest of these artist-adventurers, with both a scientific and literary bent. He joined the Rocky Mountain expedition led by another German naturalist, Prince Paul of Wuerttemberg, following the original example of Bodmer and Prince Maximilian (see above). Other German artists were to join the expeditions led by the fur traders, government surveyors and soldiers. This German interest was attributed to the twin movements of Romanticism and an increasing scientific interest in nature which dominated the German intellectual circles in the early decades of the nineteenth century.These two trends had a direct relation to the German awareness of America and prompted their travels. It has been said that the Indians were greatly impressed by the life-like images made by the white painters. They admired and feared this strange magic of “picture-writing” (German Immigrant Painters).

820

NARES, Captain George Strong [and] Edward Lawton MOSS. Shores of the Polar Sea. A Narrative of the Arctic Expedition of 1875-6. London, Marcus Ward & Co., 1878. First and only edition. Folio, 83pp., the first blank, 16 mounted chromolithographed plates after Moss, each preceded by a leaf of descriptive letterpress printed in red, one colour-printed lithographic map, woodcut illustrations, tailpieces, and initials, contemporary half calf gilt. NMM I, 954; Books on Ice, 4.7.

Moss was the surgeon and artist on the Nares’ Arctic expedition ship, the “Alert”, and his work presents a vivid description of the expedition, illustrated with chromolithographed plates from his first-hand observations and sketches. Moss produced this remarkable volume two years after returning from the expedition. Apart from his declared intent in the preface that this should be a pictorial record, the text provides a full description of Nares’ expedition (1875-76). He wrote interestingly of the literacy of young Greenlanders, shipboard rituals, and the encroaching ice, taking up the open seas. However, Nares refused to discuss scurvy, the curse of this and many other expeditions, including that of Sir John Franklin.

820

821

822

SHAW, Joshua and John HILL Picturesque Views of American Scenery. Philadelphia, Mathew Carey & Son, 1820.

[SKINNER, Capt. Joseph] The Present State of Peru. London, printed for Richard Phillips, 1805.

First edition. Folio, 20 handcoloured aquatint plates including pictorial title page by John Hill after Joshua Shaw, title page in State Two with the Cary imprint and the date 1819 beneath that of 1820, printed over-slip “North” pasted over the word “West” in the vignette caption. Broadsheets issued in three parts, in original printed blue wrappers. Contemporary green half calf gilt. Housed in custom-made clamshell box. Deak 315; Fielding 644-662; Howes S345; Reese, American Colour Plate Books, 5; Stauffer 1343; Stokes III: 567; Sabin 79935; Fowler 275.

4to, 20 full-page handcoloured stipple-and-line engravings. Original half calf and grey boards. Abbey Travel 723; Colas 2751; Lipperheide 1629; Sabin 81615.

“A milestone in American printmaking […] a foundation book for American colourplate publication, being the first publication in the United States of large coloured landscapes essentially scenic in effect” (Koke, Checklist of John Hill, 3756). The authors collaborated on a landmark work of American landscape, the accompanying text arguing that American beauties compared favourably with those of Europe. In a sense, the work functions as a landscape counterpart to Birch’s city views. Birch’s work above should be mentioned also in this context. As a first work of landscape, although fine, it is not on the same vast scale as this present work. Shaw’s first American commission, this grand scheme of producing a folio of prints is based on “correct delineations of some of the most prominent beauties of notable scenery.” As such, it is the systematic attempt to depict American landscape, and the foundation work in the history of American colour plates. Only 19 of a proposed 36 prints were produced, either because Shaw ran out of energy or the public demand failed. John Hill, another Englishman, aquatinted the plates and it is an experiment which seems to have worked extremely well. Mathew Carey & Son were perhaps the dominant publishers of the first two decades of the nineteenth century in America, producing prints rare and beautiful, magnificently rendered, exquisitely aquatinted and finely coloured. The scenes mainly depict the Eastern seaboard, where the countryside was primarily rural, and they tend to focus on the inland waterways, which were major routes of travel and sources of the energy of the time.

821

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823

SPIX, Johann Baptist von [and] C.F. Phil Von MARTIUS. Travels in Brazil in the Years 1817-1820. [Journey made at the command of H.M. Maximilian Joseph I King of Bavaria, 1817-1820]. London, 1824. 8vo, 2 volumes. Vol.I. frontispiece, title, xvi, description of plates, 327, 3 hand-colored aquatint plates. Vol.II. frontispiece, title, viii, description of plates, 298, 4 hand-colored aquatint plates. Contemporary full calf gilt and blind. Field 1472; Sabin 89551. Not in Abbey.

In December 1819 the travellers arrived at Ega (Tefe) on the upper reaches of the Amazon river and decided to split to complete two individual journeys. Spix travelled the Upper Solimoes as far as the border with Peru and near the border with the Vice-Royalty of New Granada. He returned to Ega in February 1820, having reachedTabatinga on the Peruvian border. He then explored the Rio Negro before travelling on to the Barra de Negro (modern Manaus). Martius travelled the Yapura up to the Arara-Coara falls Their failure to return to Belem by December 1819 caused concern in Munich. After travelling for four weeks down the Amazon River, they arrived in April 1820, having first gone to Sao Paulo to acclimatize to the heat. There was an impressive list of predecessors to these travels: John Mawe, Wilhelm Ludwig von Eschwege, Maximilian Prinz zu Wied-Neuwied, Georg Ludwig Freiriss, Friedrich Sellow, Auguste de St Hilaire, as well as Georg Freiherr von Langsdorff. “With regard to these men as our predecessors and precursors as well as all written and verbal information, it seemed most expedient to journey first to the southern captaincy of S. Paulo, mainly to acclimatize ourselves gradually to the hot conditions we would encounter during our travels and acquaint ourselves with this more temperate southern zone. From the Captaincy of S. Paulo we planned to travel through the interior of Minas Gerais to the S. Francisco River and Goyaz, before continuing either down the Tocatins to Para or across the interior to Bahia and the coast, where we would arrange transport of our collections to Europe before penetrating the interior of the Captaincies of Piauhy and Maranhao to arrive finally at Para, the goal of our desires.” Despite all warnings from their Brazilian friends, Spix and Martius set out to realize their plan. With a mule-man, a drover, and a “newly bought negro slave”, as well as six pack-mules and two for riding, Spix and Martius left for the interior of Brazil. The first part of the journey for acclimatisation lasted until March 1818. At the end of March the second part started when they leftVilla Rica to travel through the Captaincies of Minas Gerais and BahiaTao Salvador. In November 1818 the two scholars reached Salvador after an extremely arduous journey.They stayed there until mid-February 1819 in order to recover. Then they travelled through the Sertao to Sao Luiz. The route took the travellers through conditions of

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extreme privation and appalling lack of water, through often uninhabited areas. In May they traced a path to the southeast, then travelled to Joazeiro before continuing to Cidade de Oeiras, capital of the Captaincy of Piaui, alongside the Rio Caninde. On p. 781 of his report Martius wrote: “The Catingas mostly consisted of sparse bushes and in the lowland areas, where there was much more water, the carnauva? palms formed stately forests, the sight of which

823

was as strange as it was delightful. Blue Macaws (Psittacus hyacinthinus, Lath), which live in the dense tops of these palms, flew up screeching above us.”The blue macaws were specialist feeders of palm nuts and Martius seems to be the first to observe and comment on this, and “has contributed to an understanding of this magnificent species”. Many of the plates were after drawings by Martius. Alexander von Humboldt praised the work with the following words: “For

as long as palms are named and known, the name of Martius will be famous”. There is an illustration of South American birds and animals entitled “Fauna of tropical America.” Other plates include diamond washing at Curralinho and natives searching for diamonds the gravel of the river bed. The German edition is entitled Reise in Brasilien (Munich, 1831; not in Abbey Travel; a copy is known in the Philadelphia library).

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824

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824

825

WALDECK, [Jean] Frederic [Maximilien], Conte de. Voyage Pittoresque et Archeologique dans la Province d’Yucatan (Amerique Centrale) Pendant les Annees 1834 et 1836 … dedie a la memoire de feu le Vicomte de Kingsborough. Paris, Belizard Dufour et Cie; Londres, Chez J. et W. Boone, Bossange Barthes et Lowell. Imprimerie Firman Didot, 1838.

WALKE, Henry. [Naval Portfolio]. New York, Sarony and Major, 1848.

Large folio, pp. (2), x, 110, (1) vignette title, 16 plates of which two are double, 4 plans, one of which a double page map, half title on verso cites location of publication, lithographed vignette title, pp. 110 errata leaf, map handcoloured in outline, contemporary black half morocco over pebbled cloth, gilt ruled.

Folio, 8 coloured lithographed prints, loose in navy morocco backed linen box.

An American naval officer,Walke’s service on the Mississippi River was outstanding. His gunboats supported Ulysses S. Grant in that general’s first Civil War battle at Belmont, and he was important as commander of the “Carondelet” in the victories at Forts Henry and Donelson, Fort Pillow and Memphis. He also commanded the “Lafayette”, an ironclad ram, and later the “Sacramento” in search of Confederate cruisers in the Atlantic.

The work is dedicated to Viscount Kingsborough, who himself at very great expense produced one of the highly important illustrated works on the archaeology of the region. By the age of 19 Waldeck had explored the Cape of Good Hope. He had also studied art under French artist David. Understanding art helped Waldeck to capture his findings on his travels more vividly on paper, aiding documentation. After selling to the French Government most of his drawings of the Palenque ruins, his work was published in 1863. He was made a member of the Council of American archaeology in 1836.

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826

[WALL, William Guy (1792-after 1864)]. [The Hudson River Portfolio]. New York, Henry G. Megarey (plate 1-20), W.B. Gilley (plates 2, 3, 5, and 11), and John Mill of Charleston, South Carolina (plates 3, 5, and 11), [1821-1825]. Oblong folio, 20 handcoloured aquatints by John Hill after William Guy Wall. Red straight-grained half morocco over contemporary English marbled-paper-covered boards.

No other work of American production in the 19th century rivals The Hudson River Portfolio for size, scope or quality of execution and presentation. Indeed, it is the one colourplate book produced in America which can be said to be on the level of the best work done in England or Europe. As Deak tells us, “The Hudson River Portfolio, a series of twenty views drawn by William G. Wall and engraved by John Hill, celebrates the beauty of the Hudson and its surroundings […] The aquatints show us the region of the Hudson’s headwaters, the rapids it creates on its journey downstream, the bridges it makes imperative overhead, the trade that its navigability spawns, and, most of all, the enobling topographic settings through which it passes. In the final view, `New York from Governor’s Island’, we see the Hudson at the end of its journey, where it joins the East River in NewYork Bay.”William Guy Wall, the creator of the Portfolio, probably made his original watercolour views on the Hudson in 1820. He worked closely with the artist, John Hill, who was engaged in his own Picturesque Views of American Scenery at the same time, after beginning the project with the artist, John Rubens Smith.The original plan was to issue six parts consisting of four plates each, although this was later amended to five parts. Parts cost $16 each, or $80 for the whole, a huge price at the time, which would have limited subscription to the richest patrons.The first part appeared in 1821, and the fifth and last was issued in the fall of 1825.A reissue, easily distinguished by changes in the plate captions and size of sheets, appeared in 1828. Both issues were accompanied by twenty leaves of text written by John Agg. No title-page was ever issued. Bennett p.60; Deak Picturing America 320; Howes W47, “d” (incorrectly noting 21 plates); Koke American Engravings of John Hill (1961) pp.29-41; Reese & Miles Creating America 58; Stokes Iconography of New York III, pp.571-75; Sabin 33529 (incorrectly noting 21 plates)

827

WHITTY, Capt. I.S. Views in the Vicinity of the City of Kingston Jamaica. London,Thomas M’Lean, November 13th, 1839. Oblong folio, 6 handcoloured lithograph plates, drawn on stone by Paul Gauci (5) or J.B. Pyne after Whitty, printed by A. Ducote. Original paper wrappers with letterpress titling on upper cover; black morocco-backed box. Abbey Travel II 687; Cundall Supplement 226; Sabin 103829.

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826

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828

“THE OLD WORLD”: UNITED KINGDOM & IRELAND

INCLUDING TRAVEL & TOPOGRAPHY; ARCHITECTURE, DESIGN & GARDENING; CUSTOMS, COSTUMES

& CARICATURE

828

[ACKERMANN, Rudolph]. [Microcosm of London; or London in Miniature]. London, 1808-1810. First Edition, 3 volumes. Early issue with pre-publication watermarks and 7 of Abbey’s 12 “key” plates in the first state, 104 handcoloured aquatint plates. Tall and uncut copy in original drab boards, rebacked with later printed labels. Each volume housed in quarter red morocco clamshell case. Abbey Scenery 212; Tooley 7; Adams London Illustrated 99; Martin-Hardie, pp.100-103. This set replaces Bobins 606.

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829

AIKIN, Edmund. Designs for Villas and Other Rural Buildings. By Edmund Aikin, Architect. Engraved on thirty-one plates, with plans and explanations; [TOGETHER WITH] An Introductory Essay, containing remarks on the prevailing defects of modern architecture and on investigation of the style best adapted for the dwellings of the present times. London, Printed for J. Taylor, at the Architectural Library, High Holborn, 1808.

Small 4to, [i], text 23pp., title with imprint on verso, Cox, Son, and Baylis, dedication one leaf, 31 engraved plates numbered 1-31, these untitled, Abbey describes plates as uncoloured aquatints, of these 20 handcoloured aquatint plates, some heightened with gum arabic, modern grey paper over boards, paper label on spine. Archer 4.1; Abbey Life 2.

Plates show general views of rural houses, some with floor plans and accompanying descriptive text. This work is of particular interest for the influence of Indian architecture on the mind of an architect trained in the strictest school of â&#x20AC;&#x153;Classical domestic.â&#x20AC;? See Repton, Pavilion at Brighton in earlier volume of this work for an important example of this influence.

829 THE

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830

831

ALFRED, H.J. Views on the Thames by Henry J. Alfred. Marlow Weir, near Marlow Bridge, Bisham Abbey, Temple Lock, Hurley, Harleyford. London, by Henry J. Alfred [and] Reeves & Sons/M& N. Hanhart, Lithog. Printers, 1857.

ALKEN, Henry. Country Evenings. London,Thos.McLean, 1829.

Oblong folio, without text as issued, 6 tinted lithographed plates (as listed above), these plates printed on original buff paper, upper wrapper serving as title as often at this date with collections of plates such as these, here preserved in modern binding. Abbey Scenery 437.

Small folio, six handcoloured aquatint plates, together with an original watercolor drawing for the first plate, “The Return of the Tea and Cards.” Watercolor and plates inlaid to size. Each print signed ‘Hy.Alken, Delt. Published by Thos.McLean, 26 Haymarket. 1829. R.G. Reeve, Sculpt.’ Full polished tan calf by Riviere. Very rare. Not in Abbey or Tooley.

Views of the upper reaches of the Thames as listed in the title, at a time when boating was increasing in popularity as a means of escape into the countryside, away from evergrowing urban development and industrialisation. At this time demand for riverside properties also increased. (See also discussion of the development of landscape painting later in this catalogue.)

830

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832

ATKINSON, J.A. [John Augustus]. A Set of Four. Poet, Miser,Virtuoso, Hypochondriac. London, Published by G.S. Tregear, 37 Union Row, New Kent Road, 1824. Large folio, 4 handcoloured aquatint plates, title printed in black on upper wrapper within decorative printed border, plates signed Atkinson del. and Pub., March I, 1819, published E. & C. M’Lean, 1824, paper watermarked 1823, preserved in modern grey cloth case. Abbey Life 257; Prideaux p. 326; not in Tooley and not listed in House, which concentrates on Atkinson’s earlier works.

This work is without title, the printed upper wrapper serving that purpose, as often the case with illustrated works of this genre, stating plates coloured aquatints, variant early issue.

There is some question as to when these plates first appeared. It has been suggested from the imprint that they appeared in 1819, but a date as early as 1814 has been mentioned. The question as to whether they originally appeared in the same format, or whether they were in fact part of a larger work is unclear. An accomplished caricaturist, Atkinson was also known for the “Miseries of Human Life”, again a set of four aquatints. This second set of four prints by Atkinson, also in original wrappers, could give an indication that this present set of four aquatint plates, “The Poet, the Miser, theVirtuoso, the Hypochondriac,” a rare example of Atkinson’s later work, was almost certainly produced as we find it here. Atkinson was also a military painter and visited the site of the Battle of Waterloo in 1815 as a topographer. He was a member of the OWS (Old Water Colour Society) from 1808 to 1812. He is known to have remained in London until around 1818, but little is known of his subsequent life. THE

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833

BENOIST, Felix. Album de l’Ile de Jersey avec Coup-d’Oeuil sur Gurnsey et les Cotes de la Machine de Cherbourg au Cap Frehel Dessins d’apres Nature par Felix Benoist, lithographes par M.M. Sabatier, Ciceri, Ph. Benoist et Bayot …Texte par MM. Loie Petit & Sigismond Ropartz avec Traduction Anglaise. Paris, Henri Charpentier, [1870]. Folio, frontispiece, vignette title in red and black, 34pp. text (in French and English), table of contents, 24 coloured lithographed plates, later half pigskin over marbled boards, spine flat and gilt ruled, morocco label.

Not in usual bibliographies. Although Brunet lists Benoist’s earlier works, views and lithographed costumes of Nantes and the Loire-Inferieure, as does Hiler, there is no mention of this particular work. Benoist worked with Ciceri, Lalaisse etc., texts by M.M. Merimee, St Beuve, Viollet le Duc, Pitre Chevalier and others, and most of his works were published in Nantes in album format. A highly attractive work, the majority of plates showing views of Jersey, with a glimpse of Guernsey, and also of Cherbourg and Cap Ferret.

834

BLUNT, Henry. Blunt’s Six Views in Shrewsbury,

N.p., n.d. [c. 1838].

Large 4to, 6 tinted lithographed plates, signed, dated and captioned in the plate, original printed upper wrapper bound in as title, preserved in modern period style calf over marbled boards by Aquarius. Blunt was a noted Shrewsbury artist whose nephew was a friend of Samuel Butler and an associate of Charles Darwin. Not in Abbey Scenery or Tooley. 833

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835

BOURGARD, R. [AND] SERRES, John Thomas, translator. The Little Sea Torch: or, True Guide for Coasting Pilots; To which they are clearly instructed how to Navigate along the Coasts of England, Ireland, France, Spain, Portugal, Italy and Sicily; of Malta, Corsica, Sardinia, and others in the Straits, from Cape Bon to Cape de Verde. Enriched with Upwards of one hundred appearances of Headlands and Light-Houses. Together with Plans of the Principal Harbours; Also a Table of Soundings and Various Explanatory Remarks. The whole forming a Work of the greatest Utility to Seaman, and peculiarly calculated to instruct the curious Inquirer into those Subjects that are connected with Marine Geography. Translated from the French of Le Sieur Bourgard, with corrections and additions by Serres Marine Painter to His Majesty, His Royal Highness the Duke of Clarence, and Marine Draughtsman to the Right Honourable the Board of Admiralty. London, for the Author by J. Debrett, 1801. First English edition. Folio, 20 handcoloured aquatint plates of coastlines, lighthouses and shipping, and 24 handcoloured aquatint maps on 12 sheets, later blue cloth. Abbey Life 344; Prideaux p. 274-75, 352.

The superb plates, unusually clean and fine, are by J.T. Serres, drawing master at the Naval School at Chelsea. In 1793 he became Marine Painter to the King and draughtsman to the Admiralty. He published a second work in 1825, Liber Nauticus, a handbook for marine painters. This work was first published in 1694 as Petit Flambeau de la Mer, being reissued in 1752.This copy with the bookplate of Admiral Sir Erasmus Ommanney (1804-1904), who as a thirteen years old was at the Battle of Navarino with Admiral Codrington. The work begins at Bolt Head, Dover Castle, Toulinguet Rock near Brest, The Lizard, Ushant, North Foreland, Beachy Head, Plymouth Sound, the lighthouse of Genoa, The Edystone, Corunna, Gibraltar, Lisbon, Genoa, Porto Fino, Folkestone Head, Villa Franca, Bay of Napel, Palermo, the Harbour of Malta, Messina, Dieppe, Marseilles, Alba, Naples, Porto Vecchio, Corfu and includes two charts on one plate (as elsewhere) of Corfu and Vecchio.

836

BOYS, Thomas Shotter. Original Views of London as it is. Drawn from Nature expressly for theWork and Lithographed byThomas Shotter Boys. Exhibiting its Principal Streets and Characteristic Accessories, Public Buildings in Connexion with the Leading Thoroughfares &c. &c. &c. With Historical and Descriptive Notices of the Views by Charles Ollier. London, Published by Thomas Boys, Printseller to the Royal Family, 11 Golden Square, Regent Street, 1842.

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Folio, title printed as above, lithographed dedication to the Rt. Hon. Lord Francis Egerton, first Earl of Ellesmere, each one page with verso blank, 26 handcoloured lithographed plates mounted on thick card, including frontispiece, each with one accompanying leaf of text in French and English, each leaf with verso blank, original morocco backed cloth boards with information regarding title and illustrations on upper cover. Abbey Scenery 240; Tooley 104; Martin-Hardie, p. 250 (for uncoloured copy).

836

This is a special copy with 26 mounted handcoloured plates, frontispiece included in this count, each with a leaf of text, these the special third version, the frontispiece “Doorway to the Temple Church” with ‘Printed by C. Hullmandel’ at foot, and the imprint ‘London: Published by T. Boys, 11 Golden Square’. Each of these plates is reputed to have been coloured by Boys himself.This has been called the Deluxe edition, and is the rarest and finest edition of what is regarded as the finest lithographed work showing views of London. “A book of considerable importance apart from the beauty of its plates.The work records London at a period when good pictorial records were few. The London of the 1840s is probably more difficult to reconstruct than at of any other period in the 19th century. High production costs and changing fashion was causing the aquatint to die out, a medium familiar to Boys; photography was still in its experimental stage, and the art of chromolithography was still to appear in 1850” (Abbey Scenery).

Boys was apprenticed to George Cooke, and his early training in engraving influenced his career.This, combined with his ability to lay aquatint washes and to apply handcolour to prints, was important in his lucid style of watercolours and landscapes. Boys engraved for Turner and Hakewell, as well as his own views of the Thames, as seen here. Boys subsequently established a reputation for his lithographed volumes of picturesque tours. Lithography became a popular medium when Godefry Engelmann opened his Imprimerie Lithographique in 1816. “Boys’s Original Views of the Thames, 1842, is among the most splendid of such albums,” according to Groves. Boys used lithography to great account in this work. Groves continues by commenting on “His [Boys’] large format with its sequence of townscapes, startling for their combination of the familiar with provocative vistas.”

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837 837

BRANNON, Philip. Hyde Park and the Crystal Palace. Presenting a Series of Exterior Views Displaying the Beautiful Combinations of the Magnificent Structure with Surrounding Scenery. London, Ackermann & Co., 1851. Folio, lithographed title with three views, 4 handcoloured mounted lithographed plates, the single leaf of text giving a list of plates with names of artists, contemporary half morocco over marbled boards, upper cover gilt lettered. Abbey Scenery 244; not in Tooley. 48

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This title states that the work was dedicated with permission to His Royal Highness Prince Albert. Seven views are listed on the leaf of text; the first three are included in the lithographed title.The four mounted views show the Crystal Palace from Kensington Gardens; looking down the Kings Road; from the South Side, from near Princeâ&#x20AC;&#x2122;s Gate, looking west; The East End and looking over the Dam. Spectacular views of the exterior of the Crystal Palace and the surrounding park.

838 838

BURY, T.T. Six ColouredViews on the London and Birmingham Railway. London, Ackermann and Co., 1837. Folio, title, 6 handcoloured aquatint plates. Original buff wrappers, new quarter calf drop-spine box. Abbey Life 401; Tooley 122. A rare series of which only the first part seems to have been issued.

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840

CAMPION, George Bryant. Sketches of the Picturesque Character of Great Britain from Nature and on Stone. London, Ackermann, 1836.

839 839

[CAMBRIDGE]. Gradus as Cantabrigiam; or A New University Guide […] the University of Cambridge. London, John Hearne, 1824. Octavo, 6 handcoloured aquatint plates, 8pp. Of advertisements on yellow paper bound in a t beginning. Original drab boards, paper spine label.

First edition. Oblong folio, 3 parts in one volume, pictorial lithographed title or original wrapper serving as title, each part with 4 handcoloured lithographed plates on tinted paper (total of 12 plates), final original lower wrapper with publishers advertisements on verso, the whole bound into modern red buckram gilt lettered on upper cover, serving as title. Apparently a scarce work. Not in Abbey Life or Scenery; not in Tooley, nor in Colas, Hilmy etc; House p. 256 for biography of the artist.

Campion (1796-1870), painter, topographical artist, as well as lithographer, specialised in military subjects and was one of the original members of the New Society (1843; now Royal Institute of Painters in Watercolour). 840

841

CARR, John. The Stranger in Ireland; or, A Tour in the Southern and Western Parts of that Country, in the year 1803. By John Carr, Esq. of the Honourable Society of the MiddleTemple. London, Printed for Richard Phillips by T. Gillet, 1806. First edition. 4to, dedication (1 leaf), contents, pp. (vii) to xiv; Directions for Plates 1 leaf, verso blank; pp. 1-530 text, publisher’s advertisements of books, 17 handcoloured aquatint plates (5 folding), text watermarked 1806, plates dated 1806 but not watermarked. Bound in modern navy quarter morocco over marbled boards, gilt, raised bands. Abbey Scenery 454; Prideaux p. 330 for a copy printed in a stone or buff tint; Brunet (20370).

The work was satirised in “My Pocket Book, or Hints for a Ryghte Merrie and Conceited Tour.” This resulted in an action for libel, with judgement for the defendant. The author of the satire was Edward Dubois, father of Tom Hood. Coloured copies of Carr’s work are rare. Carr wrote several other works of travel, including Northern Summer, or Tour Round the Baltic (1808) which was translated into French by Bertin.The tour included Russia, Prussia, etc. (see Bobins Vol. I 182).

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842 842

[CHAM, DE NOE, Amedee, illustrator] Moeurs Britanniques. Paris, Chez Aubert & Cie, [n.d., c. 1850]. Folio, 15 numbered, handcoloured lithographed plates, by CHAM, all heightened with gum arabic, original cream coloured glazed lithographed cloth. Ray, Art of French Illustrated Book, pp. 155-156. 52

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Ray writes of CHAM [Ham son of Noah] that he was the most attractive of the French group of lithographic caricaturists and depicters of manners to follow in the wake of Daumier and Gavarni, who had dominated the French lithographic scene in the first part of the 19th century. CHAM had contacts with English artists, many of whom had trained on the Continent, most in company with English artist and follower of the pioneering German lithographer Alois Senefelder.

843

845

CLARK, I. Views in Scotland. Drawn on the Spot. Smith, Elder & Co., London, 1824.

[CRUIKSHANK, Robert]. The British Dance of Death. exemplified by a series of engravings, from drawings byVan Assen, with explanatory and moral essays. London, Hodgson & Co., [1813].

First edition. Large oblong folio, title verso blank, index of engravings one leaf verso blank, watermark J. Whatman, 1824 and 1825, engraved title, 34 handcoloured aquatint plates (of 36 plates, the 36th plate of Tain was published by Smith, Elder & Co. in 1820, three years after the others, which are dated 1824 and 1825), plates signed by I. Clark, preserved in modern morocco backed box. Abbey Scenery 489; Tooley 137; Prideaux 331.

Octavo, letterpress title with vignette and decorative border of skulls and winged timers, handcoloured aquatint frontispiece by Robert Cruikshank, 18 handcoloured aquatint plates after Van Assen. Original drab boards. Bookplate with coat of arms of Malcrida. Tooley 111.

The 36th plate of the town ofTain was published three years later than the others in 1828 by Smith, Elder; other plates are all dated 1824 and 1825. Imprints suggest the book appeared in several parts and publication probably ceased before the general title was issued. Tooley describes it as “One of the rarest of plate books.” Plates show Dumfries; Jedburgh; Town of Kirkcudbright; Melrose; City of Edinburgh; Town of Linlithgow; Peebles; Lanark; Hamilton; the City of Aberdeen; Elgin; Cromarty; Dingwall; Gretna Green among others. Plates imprinted Smith Elder & Co., 65 Cornhill are Nos. 1-4, 7-9, 11, 14, 15, 20, 23, 28, 30, 33 and 35.

844

CONDY, Nicholas and ARUNDELL, F.V.J. Cothele, on the Banks of the Tamar, the Ancient Seat of the Right Honourable The Earl of Mount Edgcumbe. London, By the Author, [c. 1840]. Folio, handcoloured lithographed title, dedication leaf, plan, 16 handcoloured lithographed plates, quarter straight-grained blue morocco and blue cloth with the gilt arms of the Earl of Mount Edgcumbe on upper cover. Abbey Scenery 414; not in Tooley.

The text was written expressly for the work by the Rev. F.V.J. Arundell. There had been a chapel on this site since 1411, but the present chapel was built in the late fifteenth century. The general consensus is that, over the centuries, there had been sympathetic alterations. In 1827 the future third Earl took Georgina Agar-Ellis to the house. She commented of their meal in the impressively and richly decorated dining hall, “One is really transported to the times in which the house was built.”

845

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846

847

[CRUIKSHANK, Isaac Robert]. Lessons of Thrift, Published for General Benefit, By a Member of the Save-all Club. London, 1820.

CRUIKSHANK, George. Remembrancer of a Tour on the Continent in eight coloured prints, designed after nature by an amateur, and engraved by G. Cruikshank. London, G. Humphrey, June 20th, 1821.

Octavo, contemporary brown cloth, original letterpress spine label. Abbey Life 276; Tooley 165.

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Oblong folio, 8 handcoloured plates loose as issued. original brown wrappers, printed pink label on upper cover; green cloth folder. Cohn 1230 refers to this suite of prints under another title, Inconveniences to a Trip to the Continent.

848

DARLY, Mary. 24 Caricatures by Several Ladies and Gentlemen,Artists &c. [TOGETHER WITH] Vol. II of Caricatures, Macaronies & Characters by Sundry Ladies, Gentlemen, Artists &c. [London], M. Dary, 1771-1772. First edition. Two volumes bound in one oblong 8vo, 24 handcoloured engraved plates in each volume, (making a total of 48), original decoratively marbled wrappers with engraved title labels; preserved in half morocco backed box. West, “The Darly Macaroni: Prints and the Politics of ‘Private Man’”, Eighteenth-Century Life, 25.2 [2001], pp. 170-182; not listed in House.

“Caricature is a portrait that exaggerates or distorts the essence of the person or thing to create an easily identifiable likeness. Can be insulting or complimentary; be for political purposes or entertainment. Term derived from the Italian ‘cacare’ to charge or load (i.e. a loaded portrait).” The first book of caricature drawing to be published in England was Mary Darly’s A Book of Caricatures (c. 1762). Caricature had, however, experienced its first success in closed aristocratic circles in France and Italy. There such portraits could be passed about for mutual enjoyment. Darly and her husband, Mattias, are often mentioned in combination.They set up business as publishers of caricatures (1755-77) and were instrumental in encouraging the fashion for amateur prints, most notably in concert with politician George, Marquis of Townshend.

847

849

DAWE, (George), printer. Life of a Nobleman. London, Henderson & Bailey, [c.1825]. Small 4to, 9 colour aquatint plates, no title or text as issued. Full red calf gilt, gilt dentelles by Riviere & Son. Abbey Life 310.

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850

DE LOUTHERBERG, P.I. Picturesque Scenery of Great Britain. London, Bowyer, 1801. Folio, 6 double page handcoloured aquatint plates. Half contemporary calf over marbled boards. This copy with both text and plates watermarked “Whatman 1794”. See Abbey Scenery 6.

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851

852

DENNIS, Jonas. The Landscape Gardener; comprising The History and Principles of Tasteful Horticulture. London, James Ridgway and Sons, 1835.

DIGHTON, Richard. Characters at the West End of Town. London,Thomas Mâ&#x20AC;&#x2122;Lean, Repository of Wit and Humour, 1825.

First edition. 8vo, viii, title, verso imprint W. Blatch, dedication, one leaf; contents, two leaves, 106pp. text, imprint of Blatch at foot of final leaf, 5 handcoloured lithographed plates, two double-page, original green cloth, paper label. Abbey Life 13.

Large folio, 40 handcoloured engraved plates. Rebound to period style in dark red straight grain morocco blind and gilt; original red morocco label on front cover. Tooley 181.

A rare coloured issue of a scarce book which was dedicated to antiquary Sir Richard Colt Hoare. The plates show the gardens at Buckingham Palace and also St James Palace; one of the plates also includes Horse Guards Parade. The text extends to discussions of the gardens at Blenheim Palace (famously designed by Capability Brown) and other West Country Estates.

Richard Dighton (1796?-1880) was best known for his numerous portraits of City and West End characters. He began this extensive series in 1817, publishing over one hundred etchings during the next ten years.

852

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853

855

D[UBUISSON] E. Sketches of Character, the Mufflechop Family. London, Pewtress … & Ackermann, n.d. [c.1830].

[EGERTON, Michael] - Olio Rigmaroll, p seud. Airy Nothings; or Scraps and Naughts and Odd-cumShorts; in a circumbendibus Hop, Step, and Jump by Olio Rigmaroll. Drawn and written by M.E[egerton] Esq. Engraved by Geo. Hunt. London, published by Pyall and Hunt, 1825.

8vo, 12 handcoloured lithographed plates, original buff printed wrappers, preserved in maroon cloth box. Not in the usual bibliographies.

An apparently scarce humorous depiction of the marriage of a happy couple from wedding to parenthood. It has been suggested that E. Dubuisson was in fact a Madame Dubuisson, whose daughters worked with her in her studio as a caricaturists.The women had earlier owned a gallery in the centre of Paris. 854

[EGERTON, Michael]. A Day’s Journal of a Sponge by Peter Pasquin. London, Published for the Proprietor, Rowney & Foster, 1824. Oblong 4to, 6 handcoloured aquatint plates, original printed front wrapper bound in as title, this in place of text, the plates are unsigned but each with imprint at foot: ‘London, Published by W. Egerton, 1824’. Modern half red morocco. Abbey Life 289; not in Colas.

First edition. Quarto, [iv], iv, 74, [1] blank, 23 handcoloured aquatint plates, verso imprint of J. Davy, signed M.E.[Michael Egerton] and engraved by George Hunt, contemporary green half calf, spine raised bands, gilt ruled. Abbey Life 290; Tooley pp. 113-114; Colas 938.

The plates show humorous genre scenes holding up male and female costume as the butt. The work is particularly noted for the famous depiction of “Mr Owen’s Institution, New Lanark”. The work written in the form of a journey was depicted as starting in London. The journey then proceeded via Edinburgh, Loch Lomond, Glasgow, New Lanark; Ullswater, Holyhead and ending in Dublin; a North Wales costume sketch used as a tail piece. A second edition was published by McLean.

This is the second of Michael Egerton’s seven works listed in Abbey Life. His illustrations were in aquatint, which he usually accompanied by a short verse beneath each. 855

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856

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856

ELSAM, Richard. Hints on Improving the Condition of the Peasantry in all Parts of the United Kingdom, by promoting comfort in their habitations: interspersed with plans, elevations, and descriptive views of characteristic Designs for Cottages, contributed for the use and convenience of the peasant and small farmer, as well as occasional retreats for persons of moderate income. Illustrated onTen Plates, handsomely

engraved in aquatint, and embellished with picturesque scenery, elegantly coloured to imitate its drawings. To which are prefixed, introductory Observations on the cheapest, best, and most approved Manner of building them, Under the impression that the materials of every Description will be found by the Landed Proprietor, To which are added, explanations and estimates made accordingly by Richard Elsam … London, Printed for and Published by R.Ackermann, 1816. Folio, half title, title, dedication to the Reader, pp.1-40 text, imprint Francis Marshall p. 39, errata and instructions to the binder on p. 40, 10 full-page handcoloured aquatint plates, plus an uncoloured plate, contemporary diced calf, gilt ruled, spine raised bands, gilt. Prideaux p. 335; Martin-Hardie p. 129; not in Abbey Life.

Architect Elsam also wrote an earlier, highly illustrated, work: An Essay on Rural Architecture, 1803. He was to make the change from his enthusiasm for symmetry and regularity, transferring to a special interest in “chance”, which he found “often very superior to design.” Elsam’s philanthropic, economic, and artistic views of improvement of the lot of the “peasantry” and their dwellings, an important and useful part of rural society are set out in this work.

857

FIELDING, T.H. A Picturesque Description of the River Wye, from the Source to its Junction with the Severn. By the Author of “The Theory of Painting”, “Synopsis of Perspective,” “Treatise on Painting in Oil and Water Colours,” &c; And Teacher of Painting in Oil and Water Colours to Senior Classes at the East India Company’s Military College, Addiscombe. Illustrated by numerous coloured views. London, Published by Ackermann & Co., 96 Strand, 1841. First edition of this abridgement. Tall 4to, title, list of plates, one leaf, versos blank, introduction, 2pp., 1-32, imprint Howlett and Brimmer, 12 handcoloured aquatint plates unsigned, original embossed and gilded brown cloth. Abbey Scenery 550; Tooley 218; Prideaux p. 216.

Plates in this work comprise Tintern Abbey; View up the Wye, from Rhayader; Castle and Church of Aberedwy; Hay; Bradwardine Bridge; Wilton Castle; Goodrich Castle, looking down the Wye; Monmouth; Piercefield; Chepstow Castle and Bridge, looking S.E.; Junction of the Wye and Severn. Fielding created an earlier set of 28 coloured aquatints of the River Wye in 1822. (See Bobins 647). Fielding came from a family of artists. His full name was Theodore Henry Adolphus Fielding, son of artist Theodore Henry Fielding. Apart from painting and engraving himself, Fielding also published some important works on the practice of art: On Painting in Oil and Water-Colours for Landscape or Portraits, and, importantly, The Art of Engraving, with the various Modes of Operation (1844). This was reprinted in Hoe’s edition of Maberly’s Print Collector (1880). THE

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858

859

GROSE, Francis. The Antiquities of Scotland. London, Hooper and Wigstead, 1797.

HALL, Samuel Carter [editor] Baronial Halls and Ancient Picturesque Edifices of England. From drawings by J.D. Harding, G. Cattermole, S. Prout, W. Jueller, J. Holland, and other eminent artists. Executed in coloured lithotints, by Day and Son and Hanhart. The Text by S.C. Hall, F.S.A. Embellished with numerous engravings on wood. London, Willis and Sotheran, 1858.

2 volumes. Folio, large paper copy, engraved pictorial titles and 190 handcoloured engraved plates. Original grey boards and printed paper labels. Not in Tooley or Abbey.

Grose’s novelty was to publish text with the views.The first part of the Antiquities series appeared in February or March 1772, with each view and its descriptive text on a separate page. The Antiquities of Scotland was compiled with tours in 1788, 1789, and 1790 and publication was completed in April 1791. (See Bobins 652.) On his second tour, in summer 1789, he met Robert Burns and the two became firm friends. He became the subject of some witty verses by Burns, who was inspired by Grose to write ‘Tam o’ Shanter’ to accompany a drawing of Alloway Kirk printed in The Antiquities of Scotland.

Second edition. 2 volumes, folio; Vol. I: title, verso blank, contents, 1 leaf, verso blank, text 74 leaves, 71 lithographed plates, printed in colours, after Harding, Cattermole, Prout, Mueller, Holland and other highly regarded artists, wood-engraved illustrations in text; Vol. II: Title, verso blank; Contents, one leaf, verso blank, text, 68 leaves; full red morocco label, spine gilt decorated and lettered. Abbey Scenery 406.

This second edition was reissued from the edition of 1848 (Abbey Scenery 405), but with the plates newly engraved throughout. In some instances the pictures were redesigned. This applies to numbers 22, 25, 26, 36, 43, 48, 49, 50, 51, 52, 55 and 56, corresponding in the edition of 1848 to nos. 58, 61, 62, 72, 7, 12, 13, 13, 15, 16, 19 and 20. Hall was initially employed as a reporter in the House of Lords. The main drive of his career started with his employment by Hodgson & Graves, print publishers, to edit the new Art Monthly Journal.The first number appeared in 750 copies in 1839. Hall purchased the chief share and proceeded to report on the trade in Old Masters and also demonstrated how paintings were manufactured in England. The result was that such paintings were rendered unsaleable and a Raphael could be purchased for £7 at this time. However, Robert Vernon, before giving his famous collection to the National Gallery, gave Hall permission to engrave facsimiles of his paintings and to publish them in the Journal. Queen Victoria and Prince Albert followed suit, allowing 150 paintings from the Royal Collection to appear in similar form in the Journal..

858

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860

HARDING, James Duffield [and] John Parker LAWSON. Scotland Delineated. London, E. Gambart; Joseph Hogarth , 1847-1854. 4 volumes. Folio, publisher’s green cloth portfolios with mounted plates loose as issued. 91 handcoloured lithographs, additional lithographed title leaf, each mounted on card as issued. 90 lithographic plates. This is the first edition of only a few copies coloured by Harding. Abbey Scenery 493.

Extraordinary views of Edinburgh, Holyrood Palace, Ailsa Craig, Bass Rock, Roslin Castle, Dumbarton, Glencoe, Skye etc. including many fine marine views and seascapes. Scotland Delineated consists of 90 folio lithographic plates after works by such prominent artists as J.M.W.Turner, David Roberts, Clarkson Stanfield, Joseph Nash,Thomas Creswick, and George Cattermole.These were drawn on stone mainly by the artist J.D.Harding, with some plates by Carrick, Gauci, and Needham, and accompanied by descriptive and historical texts by the antiquarian John Parker Lawson. Of the lithographers involved in the project, landscape painter James Duffield Harding was the most accomplished. He was

860

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renowned for his pioneering innovations in the media both of lithography and watercolour. “When lithography came into vogue , he quickly adopted it as a means of providing good examples for the use of pupils and students, and in the many works which he published greatly developed the resources of the art, carrying it in fact to a point of excellence which has not been surpassed. The Académie des Beaux Arts awarded him two gold medals for lithographic drawings exhibited at the Louvre” (DNB). In addition to being a successful painter and lithographer, Harding was a respected teacher. He published numerous instructional handbooks that were used extensively as texts throughout Europe. John Parker Lawson was a native of Edinburgh. An historical and miscellaneous writer who was ordained a minister in episcopal church of Scotland. Lawson wrote many works mainly of a religious theme, but the most important was his text for Scotland Delineated. This superb work displays the views of some of Scotlands finest landscape artists, particularly the dramatic scenes of Edinburgh by David Roberts, considered among his best paintings. A fine copy of an almost unique work in colour and in the original publisher’s bindings.

861

HAVELL, Robert. TheTour or SelectViews on the Southern Coast &c. &c. By R. Havell, 1827. The Logan Stone, with a Delineation of the Line of Rout. London, Smith, Elder & Co., [and] Havell and Son, 1827. Oblong 8vo, without title or text as issued, 57 handcoloured aquatint views by and after R. Havell, on 25 handcoloured aquatint plates, one folding, unsigned and without imprint as issued, original red roan backed boards, with pictorial engraved view on upper cover. Abbey Scenery 21; Tooley 254.

Includes four aquatints of Devon on three plates by R. Havell, three views of Plymouth, Eddystone and Wembury, an aquatint panorama in two sections on one sheet, apart from views of the Southern Coast there are also views of Liverpool, Bristol Channel, Holyhead as well as Howth and Dublin harbours.

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862

[HEIDELHOFF, Nickolaus Wilhelm von, publisher]. Gallery of Fashion.Volumes I-IX. London, N. Heidelhoff, 1794-1802 [April, 1794 to March, 1803]. First edition. 9 volumes bound in 2, 4to, 9 pictorial titles, and 12 monthly subtitles, complete with “Advertisement and Subscribers leaves,” these called for by Abbey; 217 handcoloured aquatint plates, depicting 362 figures of ladies’ fashions, heightened in gold and silver, two additional portraits of the Royal Princes, contemporary tree calf, spine flat and gilt in compartments, red and green labels, sides with ornate gilt fillets, preserved in modern morocco backed cloth in 2 volumes, spine with raised bands. Abbey Life 218; Colas 1170; Hiler p. 351; Lipperheide 4578; Tooley 258; Rahir 436.

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The most splendid of English costume books, and the first real venture in Great Britain of a periodical devoted to the changing taste in dress.Vol. IX is notoriously scarce, and the deterioration in the quality of these plates tends to prove that the magazine was losing popularity by the time of the appearance of this volume (Abbey Life 218).The plates are not attributed to a specific artist or engraver but are almost certainly the work of publisher von Heidelhoff, who appeared on the fashion scene after the “Gallerie des Modes” came to an end in 1787. Tooley praises this work, “Heideloff’s Gallery of Fashion is one of the most beautiful books on costume ever published, certainly the finest example of coloured aquatint as applied to fashion plates”. He adds that it is “extremely rare.”The Tooley collation was taken from the Batsford copies, some copies existing with an additional two leaves of text in English and German.

863

864

[HOGARTH, William, et al.]. An Account of What Seemed Most Remarkable in the Five Days Peregrination of the Five Following Persons…MessieursTothall, Scott, Hogarth,Thornhill and Forrest. London, Printed for R. Livesay, 1782.

IRELAND, Samuel. Picturesque Views on the Upper, or Warwickshire, Avon, from its source at Naseby to its Junction with the Severn atTewkesbury: with Observations on the Public Buildings, and other works of art in its vicinity, By Samuel Ireland. London, R. Faulder and T. Egerton, Feb 1st.,1795.

Oblong folio, title, text 8pp, 9 handcoloured aquatint plates after Hogarth and others. Modern half tan morocco and cloth. Abbey Life 307; Prideaux, p.340.

This is Hogarth’s account of a five day’s jaunt with four friends in 1732, from the Bedford Arms Tavern in Covent Garden to the Island of Sheppey.

Folio, title, verso blank, dedication, (v-viii), preface, pp. (ix) to xvi; list of prints (1); text pp. 1-284; errata 1 leaf, coloured frontispiece enclosing title, “Burney delt. C. Apostool sculpt.”, 31 handcoloured plates, all aquatint apart from nos. 13 & 21 which are etched, plates signed “Samuel Ireland, delt.”, engraved map. Later red calf gilt by Riviere. Abbey Scenery 427; Prideaux p. 271 and 341; not in Tooley.

The map shows the course of the Avon from its source at Naseby to its junction with the Severn at Tewkesbury, through Northamptonshire to Worcester, ending with a series of views of Evesham, the final plate of Tewkesbury (this unsigned, undated, uncoloured and without imprint). The coloured frontispiece gives a short dictum regarding the river valley, “Here Nature list’ning stood, whilst Shakespear play’d And wondered at the Work herself had made!”Views show Shakespeare-related monuments in Stratford.

863

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865 865

JOHNSON, (Capt. James). Lives and Adventures of Highwaymen, Street Robbers, &c. London, Hodgson & Co., [1822]. 8vo, 9 handcoloured aquatint plates, handcoloured engraved frontispiece, engraved title with decorative vignette border. Bound in 19th century half red morocco over marbled boards. Not in Tooley.

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866

KENRICK, Thomas [and other editors]. The British Stage and Literary Cabinet. ByThomas Kenrick [with eight line verse Kelly’s Thespis and vignette of Shakespeare.Vols. I – [VI]. London, printed by F. Marshall, Kenton Street, Brunswick Square, Published for the Proprietors; by J. Chappell, Royal Exchange, January, 1817-February, 1822. 8vo, Nos. 1-62 in 6 volumes (Vol. VI unfinished), five titles with wood-engraved vignettes, 65 plates, the majority by George Cruikshank, 63 etched or engraved portraits of which 46 handcoloured, one handcoloured aquatint view and one engraved view, one uncoloured lithographed view, extra illustrated with two additional plates; 23 plates in the first two volumes signed, initialled or inscribed by Cruikshank, a few plates disbound. In this set [Vol. VI - BOUND WITH]; MARSTON, John. Plays and Poems, 1820. MARSHALL, F. printer. Ralph Royster Doyster, A Comedy, 1821; WALLER, Essex. A Trip to Portsmouth: or the Wife Election, 1822; MARSHALL, printer. The Actor’s Remonstrance, or Complaint … Marshall, F., printer. The Princelye Pleasures at the Court of Kenelworth, 1821; a biographical sketch of Robert William Elliston dated 1819 reports on the London theatres, with a brief article on private theatricals, the reviews of theatrical books and recently published plates, with handcoloured portrait frontispiece of Elliston as Richmond.

[TOGETHER WITH]: CRUIKSHANK, George [and other illustrators]. The Theatre; or, Dramatic and Literary Mirror. London, Duncombe, February 20th 1819 to June 26th 1819. Nos. 1-14 (only of 24), paginated consecutively 1-220, in one volume, 9 handcoloured etched plates showing theatrical portraits of Shakespearian characters in full costume, one after George Cruikshank, uniformly bound with the above works in later full light brown morocco gilt by Riviere. Tooley 287 for Kenrick. A highly attractive and unusual Cruikshank item. The full list of dates of the 14 issues as follows: No. 1, Feb. 20, 1819; No. 2, Feb. 27, 1819; No. 3, March 6, 1819; No. 4, March 13, 1819; No. 7, April 3, 1819; No. 8, April 10, 1819; No. 7, April 3, 1819; No. 9, April 17, 1819; No. 10, May 1, 1819; No. 11, May 15, 1819; No. 12, May 22, 1819; No. 13, June 12, 1819; No. 14, June 26, 1819.

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KIP, Johannes. Nouveau Theatre de la Grande Bretagne; ou description exacte des Palais de la Reine, et des Maisons les plus considerable de ses Seigneurs & des Gentilhommes de la Grande Bretagne. London, David Mortier, 1708. Folio, title in red and black with handcoloured engraved vignette heightened in gold; Vol. I: 80 handcoloured engraved plates by Kip after Leonard Knyff, 6ff., title, preface and description; Vol. II: 75 engraved handcoloured plates, title and description 4ff; Vol. III: 66 plates, title, description, table, etc., 18ff; Vol. IV: 85pp., title, description and table, 8ff. Contemporary mottled calf gilt, covers panelled with gilt corner pieces and large arabesques blocked at centre of each, spine in seven sections with raised bands, repeat decorations in compartments. Brunet 114-5; Cohen de Ricci 529; Lowndes, pp. 1728.

The first edition appeared in 1707 with an English title; this edition, with title in French, followed one year later. These early editions carry the best impressions of these magnificent prints and are superior to those published in the 1720s. Kip, who had been a pupil of Bastiaen Stopendaal (1836-1707), had made engravings from 1672 onwards. In 1686 he made six plates of William of Orange, his Wife and Attendants near The Hague. Shortly after William took over the English throne in 1689, Kip travelled to England, although it was not known whether it was motivated by connections with William’s court. The majority of Kip’s work consists of topography, which has been called “the most dynamic area of publishing … in the first quarter of the century” (Clayton,The English Print, 75). It was possibly at William’s court that Kip began to develop and produce

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the bird’s-eye prospect views of country in which William had taken a personal interest on becoming king.About 1698 he began producing plates for his best-known work, Britannia Illustrata, or, Views of Several of the Queen’s Palaces, as well as the engraved bird’s eye prospects sold on single sheets from about 1700 and issued together in 1707. For the first volume of this work, which achieved “immediate success” (Harris 140), Kip engraved the views drawn by Leonard Knyff, but for the second volume he drew and engraved the views himself. In all probability, he sold out his interests in the work before or shortly after publication and it was expanded by booksellers with contributions from other artists from 1709. Kip also drew and engraved the sixty-five plates for Atkyn’s Ancient and Present State of Gloucestershire (1712) and engraved Thomas Bladeslade’s drawings for John Harris’sThe History of Kent. Kip’s contemporary reputation as a fashionable engraver probably peaked in 1708 with the appearance of the work, but he found himself superseded by the engraver Henry Hulsburgh, who introduced a more up-to-date architectural survey into the expanded work of 1715. Kip retained a persuasive reputation as a draughtsman and engraver. He published a 12-sheet view of St James’s Park from Buckingham House in 1710, and around 1715 was chosen by Godrey Kneller to survey his house.

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LAMI, Eugene. Album de douze lith. au Crayon: Souvenirs de Londres MDCCCXXVI. Paris, Lami Denozan, editeur: Sazerac et Duval; Alphonse Giroux, 1826. A complete set. 4to, 13 handcoloured lithographed plates, first plate with undated imprint, ‘Paris, Chez Lami Denozan, editeur’, no. 10 also, other plates without imprint, plates numbered in top right corner 1-12. Original yellow lithographed wrappers bound in to modern cloth backed marbled boards. Ray p. 203; Lemoisne p. 372; House, particularly for the artist’s Voyage en Angleterre; Abbey Scenery 228; Colas for edition of 1829, a co-edition with Colnaghi of London, and also MacLean, with yellow wrappers for the four parts, and exception of the 24 plates, these handtinted lithographs, mostly coloured and numbered; Lipperheide 995.

These plates exist before the letter and imprint, and after the letter; there are also coloured proofs in existence in several states.The plates include: the Stage Coach; a Visit to Westminster Abbey; The Tower of London; Cock Fighting; Boxers in the Ring; Racing on theThames.Whilst in England, Lami also visited Scotland, making a set of plates of his journey, lithographed by Bonington and others. Lami studied painting with HoraceVernet and later in the studio of Baron Gros, where Bonington was his friend and instructor in watercolour. To support himself he made watercolours for several albums including a Collection des uniformes des armees francoises (1822), among others. Lami made his first visit to England in 1826, during which he drew the sketches which resulted in this work. Under Charles X, Anglomania was widespread and Lami’s album was well received. He later made sketches for Monnier’s Voyage en Angleterre (Ray, p. 203). Michael Sadler’s copy called for 12 handcoloured lithographed plates by Lami, printed by Vilain. Ray remarks that this set of plates should be regarded as the trial run for the masterly “Voyage en Angleterre” which he produced together with Monnier. Lami has been described as an important lithographer and watercolourist during the reigns of Louis Philippe and Napoleon III. His output was considerable. He produced 344 lithographs as well as numerous book illustrations. It was Lami who founded the French Society of Watercolourists. 870

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869

870

LANE, T[heodore]. Theatrical Pleasures. London,Thos. McLean [n.d., but c. 1826].

LISLE, Joe. Joe Lisle’s Play Upon Words. London,Thos. McLean, 1828.

Large 4to, 6 numbered handcoloured engraved plates, tan calf by Riviere and Son, [c.1890], covers triple ruled in gilt, spine decorated in gilt, green morocco spine label; dark blue coated endpapers, armorial bookplate of Newton on front pastedown.

First and only edition.. Small 4to, 40 handcoloured aquatint plates, captioned top and bottom, upper margin title of work, lower margin with imprint of Thomas McLean and caption. Contemporary half green calf over green cloth. Not in Abbey Life; nor in Tooley.

Lane was originally a watercolour painter and miniaturist, mainly of humorous subjects and made 36 images for “Life of an Actor with text by Pierce Egan” in 1825. Many of his works related to sporting subjects and humorous cartoons with a delicate finish.

The work includes what might be described as genre scenes.

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871

LUGAR, Robert. Architectural Sketches for Cottages, Rural Buildings, and Villas, in the Grecian, Gothic and Fancy Styles suitable to Persons of Genteel Life and Moderate Fortune. Preceded by some observations on scenery and character proper for picturesque buildings. By R. Lugar, Architect. Elegantly engraved on 38 plates. London, for J.Taylor, Architectural Library, 1823. New edition. 4to, title, one leaf, verso blank, dedication, 1 leaf, verso blank, pp. 1-27, imprint of T. Bensley at foot of page 27; aquatint plates and plans, numbered 1- 38 undated imprint of J. Taylor, ending with a multiple plate of windows suitable to Houses in the Gothic Style; 23 handcoloured plates, plans uncoloured. Contemporary half calf gilt. Brunet for Taylor edition of 1823 (32pp., with 22 plates); Abbey Life 30; Archer.192.3; Brunet 9812. This edition was printed for J. Taylor without the printerâ&#x20AC;&#x2122;s name, the first two editions name T. Bensley and S. Stratford as printers. 872

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872

873

LUGAR, Robert. Plans and Views of Ornamental Domestic Buildings, executed in England and Scotland, in the Castellated and Other Styles [...] elegantly engraved on thirty-two plates. London, published by M.Taylor (nephew and successor to the late Josiah Taylor), 1836.

MALCOLM, James Peller. Anecdotes of the Manners and Customs of London during the Eighteenth Century. London, Longman, Hurst, Rees, 1808.

Second edition. 4to, half title, title, dedication, preface pp. 5-12; text pp.13-28; 1 leaf “Publications by the same Author”, verso blank. pp. 1-4, folded, double column catalogue inset of Taylor’s publications at end, 32 line-engravings and 16 aquatints, these latter handcoloured, later morocc gilt over marbled boards. Abbey Life 31 for first edition of 1811 only; Archer 194.3 for this edition.

3 volumes, 4to, 50 engraved plates including 12 handcoloured costume plates. Full calf gilt by Riviere, brown cloth slipcase. Not in Abbey.

Peller ws born in Philadelphia. He began painting and engraving in the 1780’s and went to England where he studied at the Royal Academy.

“Fine quality aquatint engravings of a very elaborate set of architectural drawings” (Abbey Life). In his Preface Lugar treated several aspects of architectural design, including site, comfort, economy and choice of style. His most important remarks are those on style, even though his discussion of the relation between landscape and the castellated style is clearly reminiscent of Repton. “In a well-wooded country, abounding with grand and romantic [sic] scenery, a house in the castle style is peculiarly suitable, as well as in character with an extensive domain” (p.10). Lugar also noted that the castellated style could accommodate “a number of rooms, which are essential to modern habits,” and its “pleasing irregularity and play of light and shadow were highly conducive to the picturesque …” (pp.10-11). Cordier a French engineer of bridges and roads, had engraved in France 37 plates from this work, published after his death by Salmon, without text with lithographed title under the name Cordier (Second edition, 1823, 4to, 32 plates).

873

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874

875

MALTON, James. An Essay on British Cottage Architecture; being an attempt to perpetuate on principle, that peculiar mode of building, which was originally the effect of chance. Supported by fourteen designs, with their Iconography, or plans, laid down to scale; comprising dwellings for the peasant and farmer, and retreats for the gentlemen, with various observations thereon: the whole extending to twenty-one plates, designed and executed in aquatints by James Malton. London, Published by Hookham and Carpenter, Booksellers; and to be had atTaylor’s Architectural Library; at Egerton’s Military Library; of Mr Wilkinson, Map and Printseller; and of the Author, 1798.

MALTON, James. A Picturesque and Descriptive View of the City of Dublin. Described in a Series of the most interesting Scenes taken in the Year 1791 [..] With a brief authentic History from the earliest accounts to the Present Time, Tho. Scribit, Vincent sculpsit. [London, c. 1811].

First edition. 4to, large paper copy, half title, title, introduction pp. 1-12, text pp. 12-27, 21 aquatint plates and plans comprising 14 handcoloured plates and one uncoloured, 6 plans printed in sepia. Contemporary speckled calf, rebacked preserving part of old spine, new morocco label. Archer 197.1; Prideaux p. 343; Martin Hardie p. 129; Abbey Life 34 cites an uncoloured copy; Berlin Kat. 2309 cites 1804 edition.

Unlike contemporary architects who advocated order, regularity and symmetry in domestic design, Malton wanted to “perpetuate [...] the peculiar beauty of the British picturesque, rustic habitations,[which were] the most pleasing, the suitable ornaments of art that can be introduced to embellish rural nature.”

Oblong folio, engraved title, dedication, preface (i) and (ii); History of Dublin, pp. 1-18, text 24ll., (no text leaf to plate 16), 5 plans aquatint and engraved, one a key plan of the City of Dublin, uncoloured, 25 magnificent uncoloured aquatint plates drawn and engraved by Malton and dated 1792-1799, with two engraved plans, each text leaf with heraldic aquatint vignette on recto, lacking folding plan of the City of Dublin, 1797 present in the Abbey copy. They remark that this is found in two copies out of five, but as printers and booksellers mentioned in imprint are unrelated to the rest of the book, and as it was not present in a copy examined in the publisher’s binding of boards and priced paper label, which perhaps indicates that it was added after publication by contemporary booksellers and collectors. Later half morocco over green buckram, top edge gilt, others uncut. Tooley pp. 166-167; Martin Hardie p. 141; Prideaux pp. 262263; Abbey Scenery 473; Archer 197.1; Abbey Life 34 cites an uncoloured copy of this edition; Abbey Life 35 for the 1804 reprint of this work with two additional plates, adding that the engraving and colouring of high quality; Prideaux p. 343 for the first edition also mentions this 1804 edition with two additional plates; Martin-Hardie p. 129; Berlin Kat. 2309 for the edition of 1804.

The dedication is to John Earl of Westmoreland, Governor of Ireland, and each plate is accompanied by a dedication to a notability. Malton accompanied his father to Dublin, where his father became Professor of Perspective and Geometry. This fine work relating to the City of Dublin, for which James Malton made the drawings himself, was a product of this journey. The original edition produced in parts 17921797 and on completion in book form. It is usually found with uncoloured plates, but a few copies do exist with these coloured. Abbey Scenery specifies sepia, which is rare.There are several issues of the plates, the imprints bearing various dates between 1792-97 as above.

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875

876

MARSH, John. Memoranda of the Parishes of Hursby and North Baddesley in the County of Southampton. Winchester, J. Robbins, 1808. First edition. Small 4to, x, 63 [v], 32pp., 5 handcoloured etched plates, plan, slightly later half calf over marbled boards.

Not in Abbey or Tooley. John Powell was a painter in watercolour, his subject matter landscapes, chiefly from English scenery, sometimes topographical. He was skilled at etching, occasionally published some lithographs and exhibited regularly at the Royal Academy.

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877

Picturesque and Architectural Views for Cottages, Farm Houses, and Country Villas. MIDDLETON, Charles.

London, Printed for Edward Jeffrey, opposite Carlton House, Pall Mall, sold by R. Faulder, and T. & J. Egerton, 1793. First edition, first issue. Folio, 16pp. text, 21 aquatint plates of which 11 are double-page and handcoloured, two ground plans and the final plate (21) is listed as unnumbered, unlisted, uncoloured and without imprint. Bound in modern period style calf backed boards. Abbey Life 37; Archer 207.1.l

Abbey Life notes that these plates are seen coloured and uncoloured. Archer remarked that the relatively large size of this volume is reminiscent of major treatises by Gibbs, War, Paine, and Adam, but the subject matter is not. Middleton provided only plans and elevations for dwellings, yet within that limitation he developed an important illustrated typology of popular British dwelling types in the late 18th century.

878

MIDDLETON, Charles. The Architect and Builder’s Miscellany, or Pocket Library; containing original picturesque Designs in Architecture, of Plans and Elevations for Cottages, Farm, Country and Town Houses, Public Buildings, Temples, Greenhouses, Bridges, Lodges and Gates for the Entrance to Parks and Pleasure Grounds, Stables, Monumental Tombs, Garden Seats, &c. Dedicated to His Royal Highness the Prince of Wales. By Charles Middleton. London, Printed for the author; and sold by J. Debrett, Foulder; J.Taylor; Messrs White; and E. Jeffrey, 1799. Small 8vo, 2 printed leaves, 60 handcoloured lithographed plates generally with views of two houses to each plate, with plans beneath, some double-page. Contemporary half modern calf over pebbled boards. Archer 206.1.

Middleton was a pupil of James Paine, although their publications differ markedly in format as well as content. Paine published a large folio collection of designs for substantial mansions. Middleton, by contrast, described his book in the Dedication as a “Pocket Companion, for Amateurs of the Science.” His format is in fact so small that the elevations and plans give only a general idea of each building’s appearance. Nevertheless the scope of Middleton’s book was ambitious and could serve as an “Assistant” to the professional man and as a guide to the public in the choice of possibilities for building types and designs. 877

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879

MORRIS, Richard. Essays on Landscape Gardening, and on uniting Picturesque Effect with Rural Scenery: containing Directions for laying out and improving the grounds connected with a Country Residence. Illustrated by six plates. By Richard Morris. London, Printed for J. Taylor, at the Architectural Library, 1825. 4to, half title, title, preface, comprising pp. v-v viii; contents 1 leaf, verso blank, text, pp.1-91, p. 92 with imprint of S. and R. Bentley, 6 aquatint plates signed R. Morris del., and imprint of J. Taylor undated, first three handcoloured, one uncoloured, two in sepia with overlays (in style of Repton’s publications), later full red morocco elaborately gilt by Strikeman, multiple gilt borders, enclosing floral motif in gilt, spine richly gilt in compartments, gilt edges. Abbey Life 40; Prideaux p. 345; Archer 212.1.

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Morris’ essay is an important exposition of the principle of design common to landscaping and to country house architecture in the first quarter of the 19th century. He divided the text into eight essays, on situation and style, external decorations, layout of grounds, planting, water, rural ornaments, distant scenery and general appearances. Although Morris’ work was useful because of its scope, it has been remarked that it was hardly original. Archer’s descriptions of Morris’ plates refer to Repton’s earlier representational scheme, using one landscape view to show three different houses each located in an appropriate setting. The houses, all in classical style, were articulated to suit their respective locations. (However, see also footnote to Morris’s Panorama of Regent’s Park below.) Archer refers to Whately (see below in this catalogue) and Marshall with relation to Morris’ essays on grounds, planting, water etc.

880

MORRIS, Richard. Panoramic View round Regent’s Park. From drawings taken on the spot by Rich. Morris, Author of Essays on Landscape Gardening. London, Rudolph Ackermann, 1831. Small oblong 8vo, handcoloured aquatint panorama in 13 panels, folded into 8vo folder, street and place names printed beneath, folded and protected in original cloth covers, section serving as title laid down on upper cover, green cloth with mounted colour plate on cover, preserved in modern green cloth box. Abbey Life 523 (listed in Abbey’s section of panoramas).

A panorama of great beauty and delicacy it reflects to perfection Morris’ essay (above) on uniting picturesque effect with rural scenery; the stately terraces of Regent’s Park gradually blending with the picturesque scenery of the park itself. Archer, in his architectural bibliography, includes Richard Morris’ Essays on Landscape Gardening, and on uniting picturesque Effect with Rural Scenery, printed for J. Taylor, 1825 (see above). Morris’ essay is an important exposition of principles of design common to landscaping and to country house architecture in the first quarter of the 19th century. An exhibition catalogue from the National Gallery of Scotland relates Robert Adams’ landscape drawings and his theories to Morris’ work, suggesting that Adams’ landscapes played an important role in the evolution of his architectural designs.

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881

882

NASH, Joseph. Comprehensive Pictures of the Great Exhibition of 1851, From the Originals Painted for H.R.H. Prince Albert, By Messrs. Nash, Haghe, and Roberts, R.A. Published under the Express Sanction of His Royal Highness Prince Albert, President of the Royal Commission,To whom the Work is, by Permission, Dedicated. [London, Dickinson Brothers, 1854]

NOBLE, W.B. [artist]. A Guide to the Watering Places on the Coast between the Exe and the Dart, including Teignmouth, Dawlish, and Torquay, embellished with a General View of Teignmouth and Dawlish, and the various Seats around them, with a short Description of the Neighbourhood; to which is subjoined, by special Leave, from the Honourable Board of Ordnance, a reduced part of their grand map. Dedicated to Lord Exmouth. Teignmouth, Printed and Sold by E. Croydon, Public Library; Sold also at Gore’s Dawlish and Gilbert’s,Torquay, 1817-1818.

Two volumes in one, large folio, Vol. I: title, verso blank, list of subjects, one leaf, verso blank; Vol. II: list of subjects, 1 leaf verso blank; leaf of text to each plates, versos blank, portrait of dedicatee, Prince Albert, 55 chromolithographed plates, majority of the plates unsigned, nos. 8, 19, 21, 22, 23, 27, 36, 37, 39, 41, 48 by John Nash, the majority signed J.N. with date, three signed John Nash and again with date.

Abbey Scenery 251 (Dickinson’s smaller format work); National Portrait Gallery D16397 (plate 2) and D106670 (plate 3); OCLC 54269186 (one copy). This Dickinson edition, which is the small edition of this spectacular work, is nonetheless attractive, visually recording this colourful and important event for London, and the remarkable glass erection, the Crystal Palace, which came to epitomise innovative English architecture of the mid-19th century, always closely connected with the memory of Prince Albert, the Prince Consort. The Great Exhibition which was housed here was to be a major turning point in British global influence. This was the first international exhibition of manufactured products and was enormously influential in the development of many aspects of society, including art and design education, international trade and relations and even in promoting tourism.

First edition. 8vo, 3 parts in one volume, Part I: title, verso blank; dedication, one leaf, verso blank; introduction, pp. (v) to viii; text pp. 1-95, p. 96 blank; Part 2: title, verso blank; subtitle, verso blank, text pp. 1-84; Part 3: title, verso blank, subtitle, verso blank, text pp. 5-72, Conchology, subtitle, verso blank, text, 9ll, subscribers, 4 ll., imprint at foot of final page, Croydon, Printer, Teignmouth, 3 titles, 3 half titles, large engraved folding map of Teignmouth and its Vicinity engraved by J. Smith, Pubd. By E. Croydon, Teignmouth; Part I with 13 handcoloured aquatint plates after Noble and engraved by D. Havell, some folding; Part II with 2 plates, the first handcoloured aquatint, the second uncoloured steel engraving; Part III with 4 plates, 2 handcoloured aquatints by Havell after Noble, and two uncoloured steel engravings; plate no. 8 of Northcote Cottage in Part I exists in two states, the second with title Grove Cottage; engraved map, to which will be sub-joined on special leave from the Honourable Board of Ordnance, a reduced part of their Grand Map, dedicated by permission to the Rt Hon. Lord Viscount Exmouth, bound in slightly later half morocco, over marbled boards, top edge gilt, others uncut. Abbey Scenery 114 & 115; Abbey Scenery 116 for edition of 1819; Prideaux 338 mentions a date of 1821 (for second edition?); Tooley 347. Abbey Scenery 115 dates this edition 1817, but is listed after the edition above. A complicated collation involving an attractive set of plates.

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NUTTER, M.E. Carlisle in the Olden Time, a Series of Views of Ancient Public Buildings. Carlisle, CharlesThurnam, London,Ackermann & Co., 1835. First Edition. Folio, text 44pp. lithographic title, lithographic frontispiece, 16 colour lithographed plates. Contemporary quarter burgundy roan over olive cloth; label to upper board. Abbey Scenery 88.

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882

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PHILLIPS, Richard [publisher]. Modern London; being the History and Present State of the British Metropolis [including] Description of the plates, Representing the Itinerant Traders of London in Their Ordinary Costume. London, Printed for Richard Phillips, 1804.

POCOCK, George. The Aeropleustic Art, or Navigation by Air, by the Use of Kites, or Bouyant Sails. [London, W.Wilson for Sherwood & Co., 1827].

First edition, first issue. 4to, letterpress title, and advertisement (2 ll.), contents leaf (1 ll.), text pp. 1-50 with description of the plates, engraved folding frontispiece, folding map, 52 copperengraved plates, including 31 finely handcoloured, within ruled and washed borders, location in upper margin, captioned beneath, and with imprint at foot of each plates, together with description of the plates, Appendix (pp. 537-564) plus Index (pp. 565-571), together with list of plates (2pp.), advertisement for books published by Phillips at end (3pp. unnumbered), later light brown morocco by Sangorski and Sutcliffe. Tooley 370; not in Colas nor Hiler.

Quarto, 3 handcoloured aquatint plates, plus title vignette. Original boards, printed paper label on upper cover, uncut. Not in Abbey or Tooley.

There are six issues of the coloured plates. This first issue within double framed borders, sepia washed, 4to, title of each trader within the outer border. Imprint below outer border, Craig del. Printed in black and coloured. Issued as a separate publication. â&#x20AC;&#x153;The Criesâ&#x20AC;?, each in an identified setting in London, were drawn by William Marshall Craig, a fashionable miniature painter who exhibited at the Royal Academy from 1788 to 1827 and was appointed painter in watercolours to Queen Charlotte.

885

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886

PYNE, James Baker. Lake Scenery of England by J.B. Pyne (coloured view) Drawn on Stone by T. Picken. London, Day & Son Lithographers to the Queen, and published by William Miller, 1859. Folio, half title, chromolithographed title within gilt borders signed R. Dudley, Inv. et Del. W.R. Tymms, list of plates, introduction, pp. i-vii, viii blank, coloured vignette roundel, 24 lithographed plates, printed in colour, mounted on card as issued, each plate accompanied by unnumbered leaf of descriptive text, plates signed J.B. Pyne etc., original green decorated cloth gilt, all edges gilt, by Leighton Son and Hodge, an excellent copy. Abbey Scenery 196; Tooley 387 for Pyne’s plates of the English Lake District lithographed by Gauci in 1853. Tooley makes no mention of this later work, although the plates would appear to be of the same subjects.

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Pyne, a landscape painter, was a native of Bristol. He trained as a lawyer but his love of art triumphed and he went to London in 1835. He exhibited his landscapes at the Royal Academy until 1839 when he joined the newly formed Society of British Artists, of which he becameVice-President. He travelled in Switzerland and Germany. His art owed much to the influence ofTurner’s later style. Pyne’s drawings were extremely decorative, technically proficient and showed a good sense of colour. The plates show views of Coniston, Lake Windermere, Rydal Water, Hawes Water, Langdale Pikes,Thirlemere, Ullswater, Buttermere, Skiddaw and other locations.

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PYNE, W.H. The Costume of Great Britain Designed, Engraved and Written by W.H. Pyne. London, Printed for William Miller by Howlett and Brimmer, 1804.

RICHARDSON Snr., Thomas Miles & [William DIXON]. Views of the Architectural Antiquities of Northumberland & Durham. Newcastle: E. Charnley & Rodwell & Martin, London, [1819-1822].

Large 4to, handcoloured aquatint title with handcoloured vignette of Beefeaters, half title, letterpress by W. Bulmer & Co., title, published preface 3 pp. (i-iii) plus table of contents 1p. and 60 handcoloured aquatint plates, each numbered 1-60, each with one leaf of explanatory text, iv pp. (preface, by the publishers, contents list), the plates here with backgrounds, the second state of the coloured plates, green straight grained morocco, decorated in blind and gilt. Tooley 388 cites the 1805 edition each plate with imprint of William Miller … 1805, although this is the first edition of 1804; Colas 2447 for this edition; Hiler p.728, for the edition of 1808; Lipperheide 985.

Folio, 14 handcoloured aquatint plates by D. Havell, T. Sutherland and T. Fielding after drawings by Richardson. Lithograph wrapper title, bound in half brown pebble morocco and cloth gilt. Parts One and Two originally appeared as Picturesque Views of the Architectural Antiquities of Northumberland, From Paintings by T.M. Richardson. Published by T.M. Richardson, 1820. Parts Three and Four appeared as Views of the Architectural Antiquities of Northumberland, from Paintings by T.M. Richardson. Published by E. Chamley, n.d. Not in Abbey or Tooley; Prideaux, p.349 cites an incomplete copy with 10 plates; Hardie, p.144.

“These plates offer a comprehensive view of all the different levels of English society.” Hiler praises the production of the plates and adds that they depict the manners and customs, trades, industries, etc., including pottery, leather dressing, yeoman of the king’s guard, half penny showman, milk woman, baker, roundabout bill sticker, lord mayor, water cart, knife grinder, dragoon, country fair, knight of the garter, etc., with descriptive text.

888

(READ), publisher. FROST, CONCANNEN, MASON and LOURDES, Mrs. [Hannah Marie JONES], authors. Read’s Characteristic National Dances … London, Read & Co., Ackermann, [1853]. 2 volumes in one, small 4to, the second with coloured vignette title, iv, 101pp., 12 handcoloured engraved plates. Original red cloth simulating straight grained morocco, vignette gilt of Maypole dance on upper cover, gilt edges. Not in usual bibliographies.

“The title vignette shows a group around a fire dancing an English folk dance, the Sir Roger de Coverley, the following plate the Highland fling, and from there the dancing progresses across Europe to India and China figuratively speaking,” H. Mandeville. The authors described the dances depicted, Mrs Lourdes specifically describing the Swiss folk dance. This work has been called an elegantly illustrated “gift book” whose intention was to suggest that national (folk) dance could express true feeling better than more “artificial” forms of dance, which seems possibly to contravene contemporary thought on theatrical dance, which was in the ascendant at this time.

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890

ROWLANDSON, Thomas [and] Henry WIGSTEAD. An Excursion to Brighthelmstone made in theYear 1789. Dedicated to H.R.H. The Prince of Wales. Embellished with Eight Engravings in Aqua Tinta, from Views taken on the Road, to, and at that Place. London, Printed with the Types of Stephenson’s British Letter-Foundry, for G.G.J. and J. Robinson, 1790. First and only edition. Oblong folio, title, 1p. introduction, 11ll. text, all versos blank, 8 sepia aquatint plates highlighted in colour within washed colour borders, each signed ‘Drawn by Rowlandson and Tinted Alken’, each inlaid in paper mount, original blue-grey boards backed in later dark green roan. Abbey Scenery 54 noting sepia aquatints; Prideaux p. 356.

This excursion, by coach and four, started on Westminster Bridge (as does the annual vintage car race from London to Brighton today) via Sutton, Reigate, Crawley, Cuckfield,The Steine. In passing New Shoreham the author remarks on its importance for shipbuilding. He also mentions Newhaven, a port east of Brighhelmstone (Brighton), and Brighton itself, a favourite destination of the Prince of Wales (later King George IV), where he built his pavilion, famously illustrated in engraving at the time, accompanied by a discussion of its architecture and influences.

891

ROWLANDSON, Thomas. [Twelfth Night Characters]. [London,Thomas Tegg, 1811]. Small album.12mo, comprising 24 handcoloured engraved plates by Rowlandson, each depicting a character from Twelfth Night, all neatly mounted in an album, each plate with a verse in lower margin, later bound by Riviere in crimson morocco, ornately gilt bordered and tooled, spine gilt in compartments, gilt edges. Ex Libris William Crampton devised in Kate Greenaway style. Falk Supplement p. 217; Grolier Rowlandson, p. 123; Grego II, p. 214; Prideaux, p. 385; not in Abbey Life.

A scarce Rowlandson item. Originally published on two sheets, 12 images per sheet without title or preliminaries. These delicate engravings show various fictional characters taken from various ranks of society. The verse below each plate reveals something of the supposed character visualised from the imaginary name and title. English caricaturist, watercolourist, draftsman and engraver Rowlandson was thought of first as an engraver and satirist. Rowlandson’s reputation suffered in the prudish moral climate ofVictorian England but in the 20th century he was recognised as a minor master and one of the most brilliant draughtsman of his day.

891

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ROWLANDSON, Thomas. World in Miniature consisting of a Group of Figures for the Illustration of Landscape Scenery. Drawn and Etched by Thomas Rowlandson. To be completed in eight monthly parts. London, R. Ackermann, 1816.

morocco with red and blue inlays of two women on front cover, wide decorated borders, five raised bands, two gilt lettered and gilt decorated and ruled compartments, gilt ruled and decorative dentelles, green moire silk doublures, original wrappers to each volume bound in to preserve. Tooley 437 quoting the 8 volume in one issue of 1817; not listed in Hardie.

First edition, first issue. Parts 1-8 [Complete], 4to, 40 handstippled, coloured aquatint plates, numbered 1-40 without titles, each bearing Ackermann’s imprint, 8pp. Ackermann catalogue bound in at end of Part 8, the whole bound by Riviere in full

This should not be confused with the World in Miniature which Ackermann issued in 42 volumes. As indicated in the title, this work was to be for the aid of artists, turning increasingly at this period to painting landscape scenery.

892

893

[ROWLANDSON, Thomas] - Oliver GOLDSMITH. The Vicar of Wakefield; a Tale by Doctor Goldsmith. London, R. Ackermann, 1817. 8vo, title, advertisement 1p, Memoirs of Goldsmith, pp.5-8, text 254pp, 24 handcoloured aquatint plates by Thomas Rowlandson with 3 duplicate plates (trimmed, 1 mounted at beginning, the other 2 bound in). Full green morocco gilt by Riviere & Son. Bookplate of S.A. Thompson Yates. Tooley 436.

894

ROWLANDSON, Thomas. Rowlandson’s Characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London. London, 1820. 12mo, title, advertisement 2pp (iii-iv), 54 handcoloured etched plates by Rowlandson ( lacking“Piccard/Lottery Prizes” but with duplicate of “Cooper”). New quarter brown cloth over marbled boards. Tooley 424.

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895

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895

SCHETKY, John Christian, artist [and] Lord John MANNERS. Sketches and Notes of a Cruise in Scotch Waters on Board His Grace the Duke of Rutland’sYacht “Resolution” in the Summer of 1848. London,Tho. Maclean, [c.1849]. First and only edition. Folio, lithographed vignette title with view of Liverpool, 1 leaf lithographed dedication to the Duke of Rutland, 1 leaf preface, 1 leaf list of plates, 1 leaf blank, text pp. 1-74, imprint at end of final leaf, Reynell and Weight, coloured vignette title signed J. Schetky, Marine Painter in Ordinary to her Majesty and J, Needham lithographer, 28 lithotints, finished by hand and dated 1850; the list of plates specifies 33, the four double page plates each being counted as two, coloured vignette title included in this plate count. Threequarter morocco over cloth gilt. Abbey Scenery 494.

The “Resolution” cruised via the Kyles of Bute, Skye, Mull, the Isles of Rum and Egg, Inverlochy, Glen Nevis, Lerwick, returning to Leith Waters, these destinations the subjects, among others, of Schetky’s attractive series of views. Schetky, who was born in Chester, had been appointed court artist to George IV and at the time of making these plates was in the service of QueenVictoria as her court painter for marine subjects. Lord John Manners, son of the Duke of Rutland mentioned in the title and himself later Duke of Rutland wrote the text for this work. He was involved in politics for much of the 19th century.

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896

[SCHMITZ, Matthew]. The Sure Water Cure. [London, Messrs Fores, 1843]. Oblong 8vo, 12 handcoloured lithographed plates (caricatures) on 11 leaves, title bound in on original front wrapper, title on back wrapper also bound in, which reads “The Water Doctor or Hydropathyist [sic]”. Bound in later polished calf preserving original tinted lithographed wrappers. Not in Abbey Life; the artist not among House’s biographies; copies on COPAC; BL and Wellcome, OCL/RLIN for one location (Harvard) with identical graphics, see note below.

896

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At this period, hydrotherapy, or the “Water Cure”, had become the rage on both sides of the Atlantic. These plates and text relate to the fad. Harvard has a copy with identical graphics to a work printed at the same date in Philadelphia by Matthew Schmitz (priority undetermined), also in original pictorial wrappers, so apparently an American edition of around the date of our English edition was produced, possibly as a co-edition.

897

SEYMOUR, Robert. The School Master Abroad. London,Thos. McLean, 1834. Oblong folio, handcoloured lithographed title and 9 handcoloured lithographed plates, original printed lithographed wrappers. Not in the usual bibliographies; see House for a biographical description of Seymour, although no mention is made of this work.

An extremely scarce item. Attractive series of gentle caricatures, one of the school master travelling through a town square on an extravagant looking vehicle (early bicycle), surrounded by his luggage and impedimenta. Thomas McLean was the first publisher to give Seymour employment. The earliest work by Seymour done for McLean was signed “Shortshanks” in imitation of George Cruikshank, whose work he greatly admired. This pseudonym was dropped in deference to an objection by Cruikshank. Seymour also produced a series of illustrations for earlier works by Madely and William Kidd.

Seymour was born in Somerset in 1798 and apprenticed to a London pattern designer, where he slowly developed an interest in history painting. However, he had little success with this and turned his hand to caricature and comic illustration, where his talent for the grotesque and the absurd could be given full range. He generally used lithography and much of his work was in the form of folios of prints with little or no text. His greatest contribution was in creating the routine of comic sportsmen from London having adventures in the country, a theme that established itself for the next hundred years or so. It was Seymour’s fame in this field that led the publishers Chapman and Hall to commission the text of Pickwick Papers from the young Charles Dickens as an accompaniment to Seymour’s sketches. Only two issues were produced before Seymour committed suicide in London on 20 April 1836.

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898

900

SEYMOUR, Robert. Seymour’s Sketches, Illustrated in Prose & Verse by Alfred Crowquill [pseudonym of Alfred Forrester]. [London, n.d., c. 1838?].

SOTHEBY, William. ATour through parts ofWales, Sonnets, Odes, and other Poems. London, Printed by J. Smeeton, 1794.

4to, 48 (of 86) handcoloured etched plates including three vignette titles, mounted on leaves within a red ink double rule, 19th-century half dark green crushed Levant morocco gilt over green cloth boards, armorial bookplate of Gloucester (Prince Henry, Duke of Gloucester, 1900-1974) on front pastedown. Schwerdt II, pp. 157-159 (describing a 1835-36 edition of Sketches by Seymour published by G.S. Tregear, in 5 volumes with 5 etched titles and 180 etched plates). 899

SMYTH, Coke [and] PLANCHE, J.R. Souvenir of the Ball Costume given by Her Most Gracious Majesty QueenVictoria at Buckingham Palace, May 12, 1842. London, J.R. Planche, P. and D. Colnaghi, 1843. Folio, 29ll., coloured frontispiece, 52 handcoloured plates, the drawings from the original dresses by Mr Coke Smyth, the descriptive letter press by J.R. Planche, half brown morocco over cloth gilt. Colas 2403; Hiler p. 714.

The plates show the historical costumes designed for this fancy dress ball at Buckingham Palace in 1842. Planche was a costume historian, with an encyclopaedia of costume or dictionary of dress, a history of British costume, and a chronicle of the Coronation of QueenVictoria published by Chapman and Hall in 1838, to his name.

899

Quarto, half title, title, preface 1p, contents, sub-title, text 514pp, 13 handcoloured aquatint plates by S. Alken after J. Smith. Contemporary straight-grain morocco, stamped and gilt and blind. Presentation copy from the author “To Miss Stables A.D. 1814” inscribed at head of title. David Lloyd George’s copy with his etched bookplate on front pastedown. Abby Scenery 513; Tooley 462. 901

THOMSON, James, Architect. Retreats in a Series of Designs, consisting of Plans and Elevations for Cottages,Villas, and Ornamental Buildings. London, For M. Taylor, (nephew and successor to the late Josiah Taylor), 1840. Second edition. 8vo, half title, title, verso imprint I.T. Hinton, Printer, vi, 7- 36pp., 41 plates, including 31 handcoloured aquatint plates watermarked 1842, some of the plates including floor plans, contemporary half red morocco over later marbled boards, spine flat and gilt ruled. Archer 333.5; Prideaux 353; Abbey Life 76 for the first edition of 1827 (no mention made of a second edition in Abbey).

James Thomson, was a pupil of John Buonarotti Papworth (see Bobins 699 for Papworth’s Rural Residences, 1818; and Bobins 700 Hints on Ornamental Gardenin, 1823). He famously designed Cumberland Terrace and Cumberland Place in Regent’s Park, as well as the Royal Polytechnic Institute in Regent Street.

900 THE

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904 902

903

TOPHAM, W.F. The Lakes of England. London, Allman, 1869.

[VIVIAN, Edward, lithographer]. Sketches in North Devon. London, R. Ackermann, [c.1845].

8vo, 18 handcoloured plates, original burgundy cloth gilt by Smith Brothers. Not in Abbey Scenery.

Oblong folio, 8 handcoloured lithographed plates by Vivian, contemporary brown wrappers gilt on upper cover.

This work on the Lakes of England would appear to be scarce. Topham was an associate of the New Watercolour Society, from which he resigned, becoming a member of the original society. Many of his works were displayed in the South Kensington Museum. He had made an extended tour of Europe, and was particularly enthusiastic about the “the picturesque in Spain.” He was also fascinated by Irish and Welsh topography and costume.

This work not in Abbey Scenery. However, a work with scenery of Torquay and Babbicombe by T.C. Dibdin, 1841, includes engraved views by Edward Vivian recorded as Abbey Scenery 332.

904

WALLIS, John. Illustrations of Knowle Cottage, Sidmouth, Devon. Sidmouth, Royal Marine Library, published by Johan Wallis…London, Longman, Hurst, Rees, Orme, Browne and Greene, [1823]. Oblong folio, frontispiece, titled, dedication 4 hand-colored aquatint plates engraved by T. Sutherland, each plate with text on facing page; no plate facing “Breakfast Room.” Original drab boards, contemporary letterpress label to upper board; new dark blue buckram box. Lowndes 1929. Not in Abbey Scenery.

100

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905

[WHATLEY, Thomas]. Observations on Modern Gardening, and Laying out of Pleasure Grounds, Parks, Farms, Ridings &c. To which is added an Essay on the Different Natural Situations of Gardens. London, West & Hughes, 1801. New edition and first illustrated edition. 4to, [8], 257pp., 6 handcoloured plates within ornamental borders, contemporary red morocco backed marbled boards. Henrey 1189.

This is a new edition and the first illustrated edition. Whatley was an English writer, garden designer and perhaps most importantly politician, who allied himself with Grenville and Lord North. However, he is perhaps best remembered for this present work which includes a large number of descriptions of English gardens, some treated in great detail. Although the first edition was published in 1770,Thomas Whatley rejected features popular in the early 18th century, such as statuary and temples, in favour of less contrived effects. He himself laid out a small garden in a chalk pit at Nonsuch Mansion at Cheam, the home he shared with his brother Joseph, and created a second garden for William Gilpin, famous for his views of the Lake District and other parts of England. Sadly both gardens were later destroyed.

905 THE

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906

WHITAKER, Thomas Dunham. The History and Antiquities of the Deanery of Craven in the County of York. London, J. Nichols & Son, for W. Edwards and Son, Halifax, 1812. Second edition with many additions, corrections, rare coloured issue. Folio, large paper copy, vii, [i], 530pp., title, verso blank, dedication, verso blank, advertisement, text pp. 1-522, index, 523-528; additions and corrections p. 529; directions to the binder, p. 530. Imprint at the foot of this page ‘J. Nichols and son, Printers, Red Lion Passage, Fleet Street, London’, engraved portrait, folding plan, 20 maps and charts, all but two (the folding map of the Deanery of Craven and the Genealogy of the House of Percy, as connected with Craven) double page, total of 77 plates including the frontispiece/title, these either engraved or aquatint as specified, and coloured or uncoloured as specified in the index, of the 48 aquatint plates, 24 handcoloured, 22 of these by Samuel Alken in two states, coloured and uncoloured, also included 19 pedigrees, 18 folding, W.D. Fryer of Knaresborough made many of the

original drawings, including the portrait of Whitaker at the front of the work, most of the other engraved plates were by J. Basire, contemporary polished calf gilt, rebacked to style. The first edition is always found uncoloured as issued. Abbey Scenery 367; Prideaux p. 356.

Rare to find this important English topographical work handcoloured as here. Whitaker, a vicar with Parishes at Whalley and Blackburn in Lancashire, was famous as a topographer concentrating on his own area of Lancashire and also Yorkshire.The engraved portrait in this work is by W.D. Fryer. Some of J.M.W.Turner’s first drawings appeared in Whitaker’s first topographical work, The History of … Whalley, and his History of Richmondshire of 1823 was accompanied by a series of 32 beautiful plates by Turner. Apart from attending to his parishes, Whitaker had many interests, receiving a gold medal from the Society of Arts for planting the most larches in one year. It was towards the end of the 18th century that he turned his attention to his topographical works, with their scholarly history of the antiquities of each area. Whitaker’s own library was sold at Sotheby’s in 1823.

906

102

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906

THE

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907 907

WIGSTEAD, Henry â&#x20AC;&#x201C; [ROWLANDSON]. Remarks on a Tour to North and South Wales, in the Year 1797. London, W. Wigstead, 1799. 8vo, half-title, engraved title, introduction 3pp, text 69pp, 22 handcoloured aquatint plates after Rowlandson and others. Half red calf over marbled boards. Abbey Scenery 516.

908

WILLIAMS, David [and] GARDNOR, Rev. John. The History of Monmouthshire [...] Views of General Landscapes by John Gardnor Commentary by John Gardnor and Mr Hill. London, H. Baldwin, 1796.

104

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908

4to, title, verso blank, contents, 5ll., Introduction pp. i-(xii) blank; text pp. 1-360; appendix of J. Cary, 1787, two folding family trees, one of the Princes contemporary with Arthur and the second of the Herbert family by Dr Griffin, 36 handcoloured aquatint plates, modern half burgundy morocco gilt over red cloth. Abbey Scenery 537.

Plates include Abergavenny Castle; Tintern Abbey; Llantony Priory; Rhaglan Castle; Llanarth; Llandeilo; Wye Bridge, Monmouth.The Herbert family was regarded for centuries as the most powerful of the Monmouthshire families. Abbey states that this was a scarce work; only 168 copies were

subscribed, 32 of which were coloured. Gardnor, whose field was art and architecture, began life as a drawing master teaching drawing at his Academy in Kensington Square. He took Holy Orders and in 1778 he was instituted to Battersea Vicarage. He exhibited at the Royal Academy and famously made a tour of Paris, Geneva, Lausanne, Basle, Strassbourg, and back down the Rhine. His fine views of the Rhine (see Bobins,Vol. II 459) are well known. Gardnor executed this series of views of Monmouthshire for a History of the County by David Williams (1796). The aquatinting was by Gardnor himself with the assistance of J. Hill. THE

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909

[WINSTON, James]. TheTheatricTourist: being a genuine Collection of correct Views, with brief and authentic historical Accounts of all the Principal Provincial Theatres in the United Kingdom. Replete with useful and necessary Information to theatrical Professors, whereby they may learn how to chuse [sic] and regulate their country engagements; and with numerous anecdotes to amuse the reader. By A. Theatric Amateur. London, T. Woodfall, and sold by H.D. Symonds; Vernor and Hood; E. Kerby; C. Chapple and by all the principal booksellers in town and country, 1805. 4to, title, verso blank, text pp. 1-72, 24 handcoloured aquatint plates, uncut, plates all unsigned, but with imprint ‘London, Publish’d [date] by T. Woodfall’, except no.1, of Tunbridge Wells, April 1804, and no.3, which omits the address but gives the date; contemporary blue boards rebacked, modern quarter black morocco, preserved in modern black morocco backed box to preserve. Abbey Scenery 29; Lowndes p. 2659; Tooley 512.

909

106

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This was written to celebrate the 60th Anniversary of the Georgian Playhouse. Continental counterpart works and actors were one of the themes of the conference. This 1805 Theatric Tourist is doubly rare. Not only have few copies survived, but it is the only account of the British Theatre compiled by a theatre manager as well as author and artist. The work has never been reprinted.The plates of venues on the tour include Tunbridge, Bath, Reading, Brighton, Richmond, Portsmouth, Lewes, Exeter, Liverpool, Manchester, Chichester, Birmingham, Winchester and Norwich, and are dated 1804-1805. Winston was born James Bown. In 1773 he was orphaned, and inherited a fortune from his grandfather in 1796. Under the name of James Neville he bought the Newbury Theatre in Richmond and married actress Frances Mary Villars. This theatre was not a success and he moved on to Weymouth and Plymouth, becoming joint owner in the latter in 1803. It was at this stage that the Theatric Tourist was published in 1804. Only 24 plates in 8 parts appeared; the author had anticipated 300.The literary style is idiosyncratic, researched by Winston and edited by Edward J. Longley.As a description of the Georgian playhouse in its Golden Age, The Theatric Tourist is invaluable and entertaining.

910

[WINTER, George Robert, illustrator]. Eton and Oxford. A few familiar scenes sketched from recollection, after an interval of several years,And Dedicated by permission, to The Earl of Darnley, by a contemporary. Oxford, J. Ryman, 1850 Folio, 12 handcoloured lithographed plates, quarter red morocco over red cloth by Birdsall. From the library of Prince Henry, Duke of Gloucester. Abbey Scenery 436 cites Eton, 4to edition, with first six of these plates, whilst No. 285 cites the Oxford edition, with the second six of these plates.

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911

WITTON, P.H. (artist). Views of the Ruins of the Principal Houses Destroyed during the Riots at Birmingham. London, [J. Johnson], 1792. Oblong 4to, 8 aquatint plates by. W. Ellis after P.H. Witton. Contemporary black cloth, morocco label on upper cover, original printed wrappers bound in. Abbey Scenery 48.

912

WOODROFFE, R. A Series of Views in the City of Bath. (London), C. Duffield, [c.1840]. Oblong 4to, title, dediction, 18 mounted handcoloured lithograph plates. Original printed wrappers. Abbey Scenery 46.

911 913

[WOLCOT, John]. Six Picturesque Views, from Paintings by Peter Pindar. London, W.C. Spilsbury, 1797. Folio, 6 aquatint plates, modern red backed marbled boards. Not in Abbey or Tooley.

John Wolcot (Peter Pindar) was a satirist and poet. Having rejected Holy Orders and a career in medicine he decided to move to London with John Opie, artist and friend, who was an immediate success. Wolcot’s success came with his Lyric Odes to the Royal Academicians by Peter Pindar Esq. (humour coarse and often profane). This was followed up with Farewell Odes (on the same subject) 1786. He then moved on to ridicule the private life of the king, later taking Sir Joseph Banks, the African traveller as his butt, before returning to his attacks on the monarch.

914

ZIEGLER, H.B. Dedicated to the Nobility and Gentry of Ludlow, and its Vicinity. SixViews of Ludlow, consisting of [titles of the six plates, listed in two columns, with coloured vignette in centre]. Drawn on Steel by H.B. Ziegler. Ludlow, Printed by Proctor and Jones, Broad Street, 1846. Oblong folio, 6 handcoloured steel engraved plates by and after Ziegler, each marked “proof”, uncut in original grey card wrappers, and preserved in later calf backed boards with original title produced and laid down, spine red cloth, preserved in later calf backed boards with original title reproduced and laid down. Abbey Scenery 264 records two sets of these plates, this edition and an earlier one of 1827 also published in Ludlow (Abbey Scenery 263).

Although the plates are described as steel engravings, they do have the appearance of mezzotints.Views show Ludlow Castle at sunrise and from four different angles, also a view of Lower Broad Street, Ludlow. Ziegler also produced a work on the Royal Lodges in Windsor Great Park, lithographed by Day & Haghe, and published by Ackermann & Co. in 1839.This work commissioned by Queen Victoria.

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FRANCE

INCLUDING THE CARICATURIST HENRY MONNIER

915

BACLER D’ALBE, Louis-Albert Ghislain, Baron de. Promenades Pittoresques et Lithographiques dans Paris et ses Environs … Paris, G. Engelman, 1822. First edition. Folio, in seven parts, lithographed title, 335pp. text, 48 handcoloured lithographed plates heightened with gum arabic by Bacler d’Albe, lithographed text, three plates in Part III printed by Engelman, others by de Villain, loose as issued, original printed wrappers. Ray 123.

915

110

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General Bacler D’Albe made many lithographs of scenery whilst on active service. His best plates, however, were for this Parisian album. Bacler D’Albe’s view of Paris seems perhaps to contradict the general trend of the 19th century, when social problems of Paris were viewed as a subject for art, following the belief that “art must illustrate its era”. At this time the population of Paris was trebling. New machines and industries were introduced and political demonstrations and Revolution filled the streets.These were also the subject of contemporary literature. At the same time, contemporary French history was also believed to have played a peculiarly exemplary role in the course of modern civilisation (Raymond Grew).

916

BARNES, John A Tour through the Whole of France. William Darton, London, 1815. Small 8vo, handcoloured engraved map, 12 handcoloured engraved plates; 4pp. advertisements. Contemporary roanbacked boards.

917

BELLIARD, Zephiria; Jean Pierre SUDRE; Charles BAZIN and Julien Vallon de VILLENEUVE. Dames de la Cour des XIIe, XIIIe, XIVe, XVe et XVIe siecles lithographies. M.CCCC.XCV. Paris, Delpech [c. 1835-40]. Folio, lithographed title page within gothic architectural frame and 30 lithographed plates of ladies of the French Court from the Houses of Valois and Bourbon and, despite the title description, also including Court ladies of the French Court up to the end of the Ancien Regime, mounted on leaves of contemporary wove paper. Magnificently handcoloured painted and highlighted with gum arabic, half red calf richly gold tooled spine, marbled sides and endpapers (c. 1900), binder’s ticket of Gustaf Hedberg (1859-1912), the Royal Stockholm bookbinder. Not in Hiler, Colas; nor Lipperheide.

918

B[ELLAVOINE], L. Mémorial pittoresque de la France, ou Recueil de toutes les belles actions, traits de courage, de bienfaisance, de patriotisme et d’humanité depuis le Règne de Henri IV. jusqu’à nos jours. Paris, de l’imprimerie de Monsieur, 1786-91.

918

First and only edition. Small folio, 11 aquatint etchings, a.e.g. Bound in 19th century crushed red morocco, gilt.

Provenance:William GeorgeArthur Harlech,IV Baron (bookplate) Cohen de Ricci 690.

919

BON GENRE, LE. Observations sur les Modes et les Usages de Paris pour server d’explication aux 115 caricatures publiees sous le title de Bon genre, depuis le commencement du dix-neuvieme siecle. Paris, chez l’editeur, boulevard Montmartre No. 1 (impr. Vassal et Essling ou Impr. de Setier), 1827. Small folio, 2ll., half title, title, 24pp. (descriptions of the plates), 115 handcoloured engraved plates (numbered 1-115), this edition with an additional 11 plates, not present in earlier editions, contemporary French half red morocco, spine gilt. Colas 2240; Lipperheide Xe369.

This edition is virtually a complete second issue, as far as most of the plates (which are on papier velin) are concerned, as well as regarding changes to some captions (Vicaire). However, some copies of this edition are completely first issue: the editor, Pierre de la Mesangere, using his remaining stock. The footnote to the edition of 1817 mentions the additional 11 plates, which gave La Mesangere the opportunity of publishing these further editions.

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921

112

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920

BOURDET, J. [editor]. Paris au Dix-Neuvieme Siecle Suites de Sujets. Paris, J. Bourdet Jeune Editeur, Chez Dupin Galerie Colbert, circa 1841. Small folio, original lithographed vignette upper wrappers bound in as title, vignette after Daumier, lithographed by Caboche et Cie (1841), 48 handcoloured lithographed plates each framed within an architectural or floriated border, Plate XLVIII handcoloured, woodcut vignettes in accompanying descriptive text, contemporary morocco backed boards, spine flat and gilt. Not in usual bibliographies, including Ray.

921

[CHARPENTIER, Henri]. Receuil des Costumes de la Bretagne et des autresContrees de la France, ou la Mise des habitans offre quelque singularite remarquable, dedie a son Altesse Royale Madame, Duchesse de Berry, par ses tres humbles serviteurs … Nantes, Charpentier Pere, Fils et Cie, Editeurs, Place Royale, No. 3; ou a leur etablissement, rue de la Fosse No. 30, n.d., [1829-1831]. Two volumes in one, folio, Vol. I lithographed vignette title, 1 leaf of lithographed index, subscription form, complete with the 10 livraison pages of the first volume on different coloured paper and the original printed vignette wrappers to livraisons

11-16 (second volume), Vol. II also with calligraphic title, 120 (60 in each volume) handcoloured lithographed plates by Charpentier each within triple ruled borders, captioned below, title at head, numbered and bound by “Departement”, later half calf, spine in six compartments, morocco lettering piece to second, others with centrepiece ornament in black and gilt borders, raised bands, marbled boards. Colas 612; Lipperheide 1195; Rahir 365; Vinet 2279; RLIN records only one copy of this work and only two copies are recorded as being sold at auction in the last thirty years, the most recent copy to appear was in 1985.

This set of plates is the earliest work devoted to the costume of the Bretagne region, as well as being of the highest quality. Charpentier, who had been a traditional engraver in Nantes, in 1828, obtained a patent to work as a lithographer. The work includes images of the stilt walkers of Les Landes, wrestlers, fishermen and their women, and many other attractive plates of local trades people. Scarce. Colas comments, “These plates mostly lithographed by H. Charpentier are of very great interest for the regional customs and costumes of the French countryside.”

922

CLERGET, Hubert, Bour [and] Bertrand. Vichy ses sources and se environs. Paris, Talbot, [c.1840]. Small oblong 4to, lithographed pictorial title and 49 handcoloured lithographed plates. Original cloth gilt. Benezit vol.3, p.1115.

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923

925

CORNU, M. Paul [editor]. Galerie des modes et costumes francais. Dessinees d’apres Nature … [the text by Guillaume Francois Roger Mole]. Paris, Emile Levy, n.d. [c. 1912].

[COSTUME]. Les Francais. Costumes des principales provinces de la France dessines d’apres nature par M.M. Gavarni, H. Emy, Pauquet, Ferogio, R. Pelez, Loubon, P. Saint-Germain, etc., lithographies par M.A. Coindre. Paris, L. Curmer Editeur, (lithog.Thierry Freres), 1842.

Folio, 4 volumes, pp. xv, 16 (Vol. I); 2pp. preliminaries and titles in other volumes, handcoloured title in Vol. I, 325 handcoloured plates, publisher’s cream coloured portfolios. Colas 1159 (1169 for original work); See Galerie des modes (below) for description of first edition.

Cornu offers these fine handcoloured reproductions of a famous 18th fashion collection published in 1778-1787. This edition omits the first 36 plates of the original Galerie des Modes devoted entirely to hats and headdresses. Colas describes the original work, unknown in a complete copy as “the most beautiful collection displaying the fashion of the 18th century.” 924

[COSTUME]. Costumes Francais depuis Clovis jusqu’a nos jours. Paris, Quai des Grands-Augustins, 1835-1839. 4 volumes. Octavo, 640 handcoloured engraved plates. Full 19th century green morocco gilt. Royal provenance: Maria Luisa Fernanda, sister of Isabella II (arms and initials stamped in gilt on covers). Colas 722.

First edition. Large 4to, handcoloured lithographed title, 32 unnumbered lithographed plates, of which 16 in two states, one uncoloured on Chine, and one handcoloured and heightened with gum arabic, after Gavarni and others, and lithographed by M.A. Coindre, each plate with a leaf of descriptive text in French and English, German and Italian, original purple (faded to brown) vertically ribbed cloth with covers ruled in blind, front cover stamped and lettered in gilt, back cover stamped in blind; original yellow coated endpapers. Colas 1100; Lipperheide 1200.

This work is extremely rare (Colas). Plates, which are after Gavarni, H. Emy, Pauquet, Ferogio, R. Pelez, Loubon and P. Saint-Germain, lithographed by A. Coindre.These include a man ofTrouville; a fisherwomen from StValery; a fisherman from d’Etretat; Maconaise; Man from Quimper; an Arlesienne; Marseillaise; Grisette de Montpellier; Basque; a woman from the Basque region; Le Caraco; a wife from Bourg de Batz; a man from Plouneour-Tres and a girl; a young girl of Fouesnant; a young girl from Grand Ergue. These plates have also been published as wood engravings in a reduced size under the title Francais Peints par EuxMemes (Colas 1101). This work with a distinguished line-up of authors and artists: text by Achard, Balzac, Janin, Karr, Nodier, Soulie, and many others, and added to the list of artists Grandville, Johannot, and Meissonier.

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DAUMIER, Honore. Croquis d’Expressions. Nos. 1-55. [Paris], Chez Aubert, [1 January 1838-7 April 1839]. Oblong folio, 55 numbered handcoloured lithographed plates, 53 of which are by Honore Daumier and two of which are by Henri Plattel. In this copy, seven of the plates are in two states (Nos. 34, 35, 37, 38, 41, 48, 50), one coloured and one uncoloured, for a total of 62 plates, 48 handcoloured and heightened with gum arabic, 14 uncoloured, all plates on guards, later half burgundy morocco over marbled boards. Ray, The Art of the French Illustrated Book, p. 230; Delteil Nos 466-476, 478-497, 499-521.

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A rare complete set of Honore Daumier’s lithographs for the series “Croquis d’Expressions.” Daumier drew 1,711 lithographs, 1,108 of which are grouped in series. “If the true glory and the true mission of Gavarni and Daumier has been to complete Balzac, as already noted, Daumier made his contribution largely through these plates, which, at least in the case of the more substantial sequences, were collected by Aubert in albums.” Balzac was himself in touch with the caricaturists of this epoch, as we see below, writing in their praise.They caricatured the new class of society whose lives Balzac touched in his works, in the post-Empire period (Ray, p. 230). Many of the caricaturists were also in touch with the English illustrators and caricaturists of this time, such as Cruikshank, Rowlandson and others, having travelled to England and spent time studying life in that country, many also travelling on to Scotland, whilst the English artists visited Bonnington on the Continent where he had formed artistic liaisons with the various practitioners of the new art of lithography.

927

[DAUMIER, Honore; GAVARNI and others, illustrators]. Le Musee pour rire. Dessins par tous les Caricaturistes de Paris. Text par M.M. Maurice Alhoy, Louis Huart et Ch. Philipon … Paris, Chez Aubert … 1839-1840. 3 volumes, 4to, total of 150 numbered handcoloured lithographed plates by Daumier (45), Gavarni (42), Bouchot (22), and others, plus one handcoloured woodcut by Grandville. The text on the verso of the plates by Victor Adam, Buchot, Daumier, Gavarni, Adolph Menut, Platel, Plattier and others. Early 20th century half red calf over marbled boards by A[dolphe] Cuzin. Ray, The Art of the French Illustrated Book, 164.

The publisher Aubert was skilful in marketing his lithographs, which were one by one published in periodicals such as Le Charivari and together in suites by the same artist without letterpress. A third form was in albums made up of lithographs by several artists, with accompanying texts. Aubert is quoted as claiming that these had “a plan that is easy to follow, for it consists in not having any,” which was an excuse for reusing old texts and already published plates (Ray, 164). Ray continues that with the 150

lithographs, 45 by Daumier (some from Croquis d’Expression and La Galere Physionomique) and 42 by Gavarni, with new commentaries for each plate by Maurice Amoy, Louis Huart and Ch. Philipon, Le Musee pour Rire is among the most attractive of romantic illustrated books with its professional and very fresh handcolouring. Daumier was later to find himself in prison as a result of his caricatures. He created a series of images of the King, depicting him as a pear, one famously showing the pear-shaped King sitting on the stomach of his recumbent Prime Minister. Shifting from his initial stance of respecting the freedom of the press, Louis-Philippe was later to re-impose censorship. To revert to Aubert’s marketing practice, as mentioned above, the third form of publication was in albums made up of lithographs by several artists with accompanying texts.These collections most commonly took the form of volumes with the generic title “Paris comique”, which consisted of twenty coloured lithographs accompanied by quite unrelated texts. “A frugal way of remaindering the unused plates.” These albums became extremely popular and it is complete works of caricatures of this period, including those of Monnier and others, which are rare to find on the market (see below). The “Musee pour rire” was made up of 150 lithographed plates, including 45 by Daumier and made up as described above.These lithographs are accompanied by a new text for each plate, all except for two by Alhoy and Huart. The Daumier lithographs were trimmed slightly, and their captions were relettered.The designs of the other artists were provided with decorative frames. The whole was then placed in three handsome volumes and in copies with expert contemporary colouring, as this one. THE

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928

[DAUMIER, Honore, illustrator]. Les Cent et un Robert-Macaire, composes et dessines par M.H. Daumier … texte par M.M. Maurice Alhoy et Louis Huart. Paris, Chez Aubert et Cie, 1839 and 1840. Second series. 2 volumes, 4to, 101 handcoloured lithographed plates, contemporary brown polished calf over brown cloth boards. Ray, The Art of the French Illustrated Book, 162; Lipperheide; Vicaire III, cols. 31032 and V, cols 572-573; Paris au 19ieme Siecle or Romantic Literature; Beraldi V, p. 124; Carteret II, 187; there is also an edition of Robert-Macaire 1836-37 (Ray 161).

The plates in this work are reduced and, for the most part, reversed copies of Daumier’s lithography, apparently drawn by Menut Alophe, and are greatly inferior to the originals. Unlike “Caricaturana”, the series is not often found coloured. Macaire remarks in “Caricaturana”, “Fools will never disappear.”With this in mind, Daumier and Phillipon embarked with confidence on this second series of RobertMacaire. The plates are not inferior to those in “Caricaturana”, but the vogue for Macaire and Bertrand had apparently died away. At any rate only 20 plates were finally produced.

929

DEBUCOURT, [Philippe-Louis]. Modes et Manieres du Jour a Paris, a la fin du 18e siecle et au commencement du 19e. Collection de 52 gravures coloriees. Paris, au Bureau du Journal des Dames, n.d. [1798-1808]. 8vo, 1ff. (title), 52 handcoloured aquatint plates, the first plate has in upper margin Modes et Manieres du Jour; the second Manieres et Modes; and the others, Modes etc., except for the two final leaves which revert to Modes et Manieres, later half red morocco chemise and slipcase. Colas 814; Fenaille (l’Oeuvre Grave de P.L. Debucourt), p. 67; Goncourt, art au 18ieme siecle, 3rd ed., pp. 305; Rahir 392; Vinet 2248; Cohen 275.

This is the rarest and the most interesting of the collections of fashion plates so characteristic of the beginning of the 19th century, including hairstyles and headwear. An unknown publisher made very poor copies of this series around 1880, while Ed. Gosselin published a fine reproduction in 1912.

928

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930

DEMORTAIN. Gilles de Mortain [and] LE PAUTRE, Pierre. Les Plans, Profils, et Elevations des Ville et Chateau de Versailles, avec les Bosquets et Fontaines … Dessinez et gravez en 1714 et 1715 [1716?]. Paris, Chez Demortain, sur le Pont Notre Dame aux Belles Estampes, n.d. [1716?]. [together with]: LE PAUTRE, Pierre. Plans, Coupes, Profils et Elevation de la Chapelle du Chasteau Royal deVersailles. Paris, Demortain, n.d. [1715]. Folio, the first with 40 single and double-page engraved and hand-coloured plates, including engraved title; the second work with 10 engraved and hand-coloured plates, including engraved title. Contemporary Dutch binding in red morocco, spine decorated in compartments, title on sides, these gilt ruled, with fleurons in corners.

Berlin Kat. 2491 [and] 2493; Millard French Books for copy with additional work bound in at end. King Louis XIV spent more than fifteen years on the construction and embellishment of the Chateau de Versailles, which he supervised down to the slightest details. The architects Le Vau, F. d’Orbay and J. Hardouin-Mansart were responsible for the buildings; Le Brun for the decorative interiors; Le Notre for the gardens; and the astonishing Machine de Marly to feed the fountains with water; finally the chapel, the last part of the reconstruction, was finished in 1710 by Robert de Cotte. The royal residence gained the admiration of all Europe. These publications, which were very popular, indicate the growing interest in the public Royal Palace and buildings of France. It developed in line with the growth of guide books. Pierre Le Pautre, son of Jean Le Pautre, received his training from his father in ornament, design and perspective, possibly influenced by Augustin-Charles d’Aviler in his enthusiasm for architectural design. Le Pautre was appointed “dessinateur du Roi” and worked under Jules Hardouin Mansart (see below). Le Pautre’s enormous output of engraved work after his own talented drawings of architectural subjects have always served artists with an interest in architecture and, most importantly, architectural decoration as models (Brunet). A third work is sometimes bound in with these two, showing views of Paris’s Royal Residences etc. by Antoine Aveline (see Millard). The brothers Gilles and Savinien Demortain, painters, engravers and print sellers “Aux Belles Estampes,” called on the best artists of their time to assist in this work. The 50 plates which make up this work, most double page, comprise 9 plans, 26 views of the chateau, the fountains and the gardens, 5 plates for the chateau and the Machine de Marly, and 10 for the chapel. The plates are all coloured by hand, with watercolour for a base and gouache for the costumes of the various personages and the foliage. They are further heightened with gold and silver for the sculptures and the jets of the fountains. The colour heightens the relief of the long perspectives of the gardens and the buildings. The fine contemporary Dutch binding would appear to witness the admiration of the owner of the new French architecture. 120

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931

[FETES PUBLIQUES] donnees par la Ville de Paris, a lâ&#x20AC;&#x2122;Occasion du Marriage de Monseigneur le Dauphin, les 23 et 26 fevrier M.DCC.XLV. [Paris, 1745].

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Large folio, 10 double sided engraved plates of text within decorative borders, engraved allegorical frontispiece by Le Bas after Charles Hutin, 19 engraved plates of the festivities (including 10 double page) by De la Fosse and others after Eisen and Cochin fils, Elaborate binding, possibly presentation, contemporary calf gilt. Hiler 312; Cohen de Ricci 392-93; Lipperheide 2716; Lewine pp. 185-86.

931

The celebrations described mark the marriage of the eldest son of Louis XV with Marie-Therese of Spain at Versailles followed by a magnificent masked ball which lasted from midnight until eight oâ&#x20AC;&#x2122;clock the following morning. Several of the engravings in this work are particularly exceptional, notably those of the ball in the Hotel-de-Ville and the Place Louis le Grand.The plates are generally attributed to Cochin

father and son, and engraved by Blondel (although none of the plates, except the frontispiece, are signed either by artist or engraver). Handcoloured copies do exist, executed for the King and high ranking gentlemen of the court. One particular copy of Madame Adelaide appeared at the Hamilton sale, later presented by Baron Edmond de Rothschild to the Louvre in 1935. THE

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[GALERIE DES MODES …] Galerie des Modes et Costumes Francais dessines d’apres Nature, graves par les plus celebres artistes en ce genre, et colories avec le plus grand soin par Madame le Beau. Ouvrage commence en l’annee 1778. Paris, Chez les Srs. Esnauts et Rapilly, [1779-1781]. 2 volumes, folio, engraved title by Le Roy after Le Clerc, iv pp. introduction to Vol. I, pp.1-41, 241 handcoloured plates, half blue calf and marbled sides, spine in six compartments elaborately gilt, red calf label by Aquarius. Colas 1169; Lipperheide 1129; Cohen 420; Rahir 435; Vinet 2244.

“This collection is the most beautiful work which exists on the fashions of the 18th century, and was published periodically in folders of six [or] three leaves; the plates coming either in black and white or handcoloured. The work should be in four volumes, but the titles of only the first two are known. Ideally a complete copy should contain 436 plates on 418 sheets.” Colas continues that, to his knowledge, no complete copies with all the plates exist.The most complete copy known is that of Comte Octave de Behague, which contained over 400 uncoloured plates; that of James Rothschild contained 346 plates, whilst the de Jonghe copies offered in the sale of that library contained 238 and 189 plates respectively. (See above for reproduction of 1912 under Cornu.)

933

Collection de travestissemens de toutes les nations [wrapper title] [GATINE, Georges Jacques].

[Paris, c. 1822].

Small folio, 22 engraved handcoloured plates numbered 1-22 by Gatine, plus 1 additional plate from another work bound it at rear, contemporary olive green quarter calf gilt over green cloth boards, original front wrapper bound in. Colas 1184; Hiler p. 354.

This collection of plates is often attributed to Lante, the costume drawings are very much in his style, although there is no signature to allow the authorship to be affirmed. Wrapper not recorded by Colas. 933

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[GATINE, Georges-Jacques; ISABEY, Jean Baptiste, artists]. Observations sur les modes et les usages de Paris, pour servir d’explication aux 115 caricatures publiees sous le titre de bon genre, depuis le commencement du dix-neuvieme siecle. Paris, Chez l’Editeur, (imprim.Vassal et Essling ou Impr.de Setier), 1827. Third edition [but second issue]. Folio, half title, title, 24pp. descriptive text, 115 handcoloured engraved plates on papier velin, each titled above image and numbered 1-115), half red calf over marbled boards. Colas 2240; Rahir 332; Vicaire I, 839-843.

This would seem to be a second issue of the plates on “papier velin”, some of the captions have been changed [cf Vicaire] but in some copies the editor has included first issue plates, which he still held in his stock. First edition 1817; second edition, 1822.The first edition was edited by Pierre de la Mesangere who had published these plates from 1801 and then formed them into a collection. A reproduction of this work, Le Bon Genre, appeared with a preface by Leon Moussinac (Paris, 1928-1931) in folio (Colas 2241).

935

GAVARNI, Paul [nom de plume of Hippolyte Guillaume Sulpice Chevallier]. Souvenirs du Bal de Chicard. Paris, [1839-1841], 20 handcoloured lithographed plates, later green cloth, green morocco label.

enthusiasm extended to other parts of Europe, particularly Germany, where theatre also flourished. Gavarni was the master of the art of costume. He started his career in illustrating, working for a fashion journal and continued in their employ among other activities for 34 years. “His witty pencil made life-like figures which won him a name in fashionable circles and he was a regular attendee at Paris’s most prestigious balls,” (Ray). Gavarni later took charge of the influential periodical, Charivari, and lived in England in the late 1840s to avoid political persecution. Ray describes him as “One of the cleverest caricaturists of any time and his draughtsmanship without equal. With great economy of line he captured the folly and foibles of an age.”

936

GAVARNI, Paul [Guillaume-Suplice Chevallier]. Souvenirs de Carnival. Paris, Rittner et Goupil, [c.1840]. Folio, 6 hand-colored plates. Original front pink wrapper with lithograph illustration. Contemporary half red calf and cloth, calf label to front board. Beraldi VII, 50; not in Colas.

Most of Gavarni’s later works, which became more serious, were aimed at a different section of the public, which had previously granted him so wide a popularity, as did his works on Carnival, of which this was one of the last.

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Armelhaut & Boucher, L’Oeuvre de Gavarni, pp. 253, 524 and nos. 257 (Chicard) and 2280 (Troubadour); not in Colas although works displaying ball costumes are included.

HAVELL, Robert. French Costume. London, Rodwell and Martin, 1824.

It has been said that Gavarni took his nom de plume from the place where he made his first published sketch. Fancy dress was the enthusiasm of the moment for Parisian balls, which had long been a part of French Carnival. The

12mo, 24 handcoloured aquatint plates by Havell. Later maroon morocco gilt. Not in Colas or Lipperheide.

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938

939

[ISABEY, Jean Baptiste]. Caricatures de J.J. Paris, Chez l’Auteur et Chez Alphonse Giroux, [1818].

JOHNSON, J. [and] J.D. HARDING. The Costumes of the French Pyrenees, Drawn on stone by J.D. Harding, from original Sketches by J. Johnson. London, James Carpenter & Son, 1832.

First edition, first printing. Oblong folio, 12 numbered handcoloured lithographed plates printed by C. Motte, late 19th century quarter green roan over marbled boards; original pink lithographed paper wrappers bound in entitled “Caricatures.” Ray, The Art of the French Illustrated Book, 101; Colas 1519; Hiler p. 468.

These twelve pseudonymous designs were the pastimes of Jean-Baptiste Isabey, a miniature painter of repute, who was the father of Eugene Isabey. Of great verve and spirit in themselves, their grotesque figures, tall or short, fat or thin, provide a link with English caricature of the previous quarter of a century, particularly with the work of Thomas Rowlandson. In fact as is mentioned repeatedly in the history of French caricature, there was a strong link between the English caricaturists at this time and the French. Isabey’s situations are as gross and indelicate as his people.

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4to, lithographed title, list of plates, iv, preface, 60pp. of explanatory text, 30 handcoloured lithographed plates by Harding after Johnson, printed by Hullmandel, numbered 1-30, original purple moire cloth. Colas 1551; Brunet III, 555; Lipperheide 1198; Vinet 2282; not in Abbey.

Harding was a landscape painter and lithographer. He was also a teacher and as soon as the art of lithography came into vogue, he adopted it, in order to pass on the art to his students. He himself was a constant exhibitor at either the Royal Academy or the new Institute for Watercolourists. He was particularly adept at drawing and painting trees, and he was praised for this by Ruskin in his Modern Painters.

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940

LALAISSE, [H.] [and] Felix BENOIST. Galerie amoricane, costumes et vues pittoresques de la Bretagne par Hippolyte Lalaisse et Benoist. Nantes, Charpentier pere, fils et cie, [1848]. Small folio, 5 parts in 2 volumes, general lithographed title frontispiece, 5 lithographed title frontispieces one for each of the 5 departements, and each lithographed with a handcoloured vignette, 100 handcoloured plates after Lalaisse, including 25 lithographed views, 112 pp. descriptive text, index of engravings with advice to the binder, contemporary green morocco backed boards over green cloth. Colas 1728; Brunet III, 776; Lipperheide 1201; Vinet 2280.

A work which rarely appears on the market.This is a special copy with the costume plates, usually simply outlined, in full colour.The “Departements” included which correspond with the 5 unnumbered lithographed vignette frontispieces are Loire-Inferieure, 14 coloured costume plates, 2 topographical plates in black and white; Morbihan, 24 coloured costume plates, 3 black and white topographical plates; Ille-et-Vilaine, 10 coloured costume plates, three black and white topographical plates; Finistere, 39 coloured costume plates, 9 topographical plates; Cotes du Nord, 13 costume plates, 4 topographical plates in black and white. Colas remarks that this work is often found bound in two volumes, as here. The costume plates are by Hippolyte Lalaisse and the topographical plates by Felix Benoist. The work was originally published in 25 original parts, the costumes gouached.With the exception of the costumes of Brittany, all Lalaisse’s other works related to the military. All except one depict the French army, including the Napoleonic army, the exception being the Austrian army. For Benoist’s fine work on Jersey, see the UK section of this catalogue. Most of his work was undertaken on or near the West Coast of France.

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942

LAMI, Eugene. Les contretems en caricatures. Paris, Chez Gide Fils, 1824.

LAMI, Eugene. Les agrements de la vie de chateau. Paris, Chez Lami-Denozan, 1828.

4to, 24 handcoloured lithographed plates by Lami, printed by Vilain, A complete set, original wrappers bound into modern half calf over boards. Lemoisne p. 370; Ray 137, p. 204.

Small oblong 4to, 20 handcoloured lithographed plates, red pebbled cloth, upper cover titled in gilt. Lemoisne p. 376.

There are several issues, some with plates numbered, and there are sets of the plates handcoloured by the artist and retouched.This early album of borrowed caricatures hardly suggests what Lami was to become.Although he took ten of his plates from Rowlandson’s “Miseries of Human Life”, he can hardly be accused of plagiarism, since he transposed the English artist’s subjects to French settings, in effect making new creations of them. In plate 23 the French officer treading on the gouty toe of his invalid uncle is a quite different character to the English Sea Captain of Misery No. 11, while the properties beside the two valetudinarians testify the contrasting national habits. In fact the powerful influence of the English tradition of caricature on French comic artists of the 1820s could not be more clearly demonstrated than by these two albums. Quite as much as Rowlandson’s aquatints, Lami’s lithographs require colour to be effective (Ray, p. 204). 941

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These plates exist before and after the letter; coloured by the artist and retouched. “M. Rahir (noted for his remarkable library and particularly for his collection of fine bindings) not only gave us access to his collections with very good grace, but also gave us information all the more precious for his long experience of this field” (Lemoisne). The plates show a day in the life of the Chateau, progressing as follows: “Dawn; the Arrival of Letters and Newspapers; The Morning, a Visit to the Village; The Neighbours in the Country; The Lovers of the Countryside; A Local; Boar Hunting (the Attack); Ghost Stories; Evening Amusements; 5 o’clock in the Morning; Portrait of Alfred de Musset; Bivouac on the Edge of the Woods.”

943

LAMI, Eugene. Quadrille de Marie Stuart. 11 Mars, 1829. [Paris, A. Fonrouge], 1829. Small folio, letterpress title (stencil and handcoloured), border handcoloured with arms of France and combined arms handcoloured and heightened with gilt, 26 handcoloured lithographed plates on chine within elaborate borders after watercolours by Lami and printed by Fonrouge, two angels holding titling piece, 22 portraits of characters in the masque in appropriate 16th century costume and apparently played by English and French aristocracy, four handcoloured lithographed plates of the actual masque, one of these plates with three images, original red paper boards, backed in modern straight red grained morocco. Colas 1747; Brunet IV 994; Rahir 492; Ray describe and illustrate this work; Hiler p. 523.

Ray writes of this work: â&#x20AC;&#x153;the passion for the past manifested by artists and writers in the 1820s occasionally touched the aristocratic world as well.â&#x20AC;? The young Duchesse de Berry, for example, held several historical balls, the best remembered of which was this Quadrille, recalling the arrival of Mary Stuart of Scotland at the Tuileries to wed the future Francis II. The Duchesse commissioned this work from Lami as a record of this brilliant event. The Duchesse herself is shown as Mary Stuart and the Duc de Chartres as Francis II. This album was only printed in a small number and given to the principal participants, rather than offered for sale, which would account for its scarcity (Colas). Ray describes Lami as an elegant and brilliant painter who devoted much of his time to lithography between 1817 and 1833, the age of Romantic enthusiasm for this new medium, which to an extent replaced engraving as a medium for book illustration, being joined in a modern revival of wood-engraving, particularly in the form of decorative vignettes in the text.

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944

LANTE, [Louis Marie] et [LA MESANGERE]. Galerie francaise de femmes celebres par leurs talens, leur rang ou leur beaute, portraits en pied, dessines par Lante, la plupart d’apres les originaux inedits, graves par M. Gatine et colories; avec des notices biographiques et des remarques sur les habillements. Paris, Chez l’Editeur, (impr.de Crapelet), 1827. First edition. 4to, title and half title, 70 unnumbered handcoloured engraved plates, plus 7 additional plates (6 of costume, one of ceramics), a leaf of text by La Mesangere accompanying each plate, quarter brown calf over marbled boards. Colas 1765; Brunet III, 795; Lipperheide 1077; Vicaire III, 854 and IV, 1362.

Colas mentions that the printed wrappers carried the title of Galerie francaise de Femmes celebres. “These plates are very well engraved and coloured representing the French female costumes from the 12th to the 18th century”. This edition is considered the first issue. Colas remarks, however, that they have seen an issue which must be the very first and gives a collation: 2ff (title and half title), listing 54 plates, engraved handcoloured and unnumbered.

945

LEFEBVRE-DURUFLE, N[oel] [Jacques]. Ports de Cotes de France de Dunkerque au Havre. Paris, Chez L’Editeur J.F. Ostervald, 1832. Tall quarto, 52 handcoloured aquatint plates. Half red morocco gilt and marbled sides. Not in Abbey.

946

LE PRINCE, Xavier. Inconveniens d’un Voyage en Diligence, douze Tableaux lithographies. Paris, Gihaut Freres, 1826. Oblong 4to, suite of 12 gently satirical lithographed plates by LePrince, all coloured by a contemporary hand, demonstrating the vicissitudes of carriage travel at this time, ontemporary half calf gilt.

Le Prince was credited with inventing a process of aquatint engraving which imitated a sepia wash or Chinese ink. He used this process for a number of Russian costume plates published either singly or bound in sets. From the library of Descamps-Scribe, Catalogue II, Paris, 1925, No. 519.

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946

THE

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947

[MALO, Charles]. Voyage pittoresque de Paris au Havre sur les Rives de la Seine. Paris, Louis Janet, [1828]. First edition. 12mo, [vi], 5, 1 leaf, 207pp., journey down the Seine presented in 11 chapters, 10 handcoloured copper engraved plates en chine, title with aquatint vignette of steamer on the Seine, original wrappers, bound in contemporary calf. One of the most charming almanach type publications. Barbier IV, 1094; Querard, La France litteraire V, 476; Hoefer xxxii; not in Abbey or Tooley.

An anonymously published travel account by Paris historian and man of letters, Charles Malo. It has been suggested that the publisher was possibly Jules Didstaire. Historian Malo’s work has been described as “one of the most charming of almanacs from French publisher Louis Janet.” The handcoloured copper engraved plates show St Denis, Poissy, Triel, Mantes, La Roche Guyon, Le Petit Andelys, Elbeuf, Rouen, the mouth of the Seine and Le Havre.

947

948

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949

948

949

MARLET, Jean-Henri. Tableaux de Paris. Paris, Marlet, Martinet & Emery, [1821-1824].

MARTINET (publisher). Paris moderne et ses environs. Paris, Maison Martinet – Hautecoeur Freres, imprime par Lemercier, rue de Seine [c. 1875]

Oblong folio (11 1/4 x 14 ¼”), printed title, 72 leaves of text with 72 handcoloured lithographic plates. Contemporary half brown morocco over marbled boards with arms of Eugene de Beauharnais, original wrapper of second livraison bound in. A very rare album of French 19th century scenes depicting members of the populace.

Oblong 4to, pictorial title and 30 chromolithographed plates by Charles Riviere after Martinet, heightened by hand, original red pebbled cloth gilt lettered, decorative borders in blind, gilt edges.

The publishing house Martinet is noted for its works on costumes and military uniforms. These plates, which are something of a departure, include the Maison Martinet “Le Nouvel Opera” d’apres Mr Garnier, Pont Neuf, Arc de Carrousel et Nouveau Louvre, Palais de Tuileries, Rue de Rivoli, La Bourse, Place Vendome, Grand Cascade de Longchamp, and St Cloud, in addition to plates showing crowds on foot and in carriages enjoying the sights.

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950

138

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950

MAUGENDRE, A[dolphe]. Chemins de fer de l’Est: Album des vues les plus remarquables du parcours, dessinees d’apres nature et lithographiees par A. Maugendre. [Rouen, Le Havre et Dieppe]. [Paris, Imprime Auguste Bry, rue du Bac, Paris], 1857. Large oblong folio, coloured lithographed vignette title with the armorials of the three towns, 33 large lithographed plates in colour by August Bry after Maugendre, contemporary black morocco-backed green pebbled cloth.

Some of the most beautiful views of Eastern France, to be seen from the carriage windows of the relatively new French railway system. Adolphe Maugendre, landscape painter and lithographer, was born in Le Havre, and only later in his life moved to Paris.This has been described as an unusual work and Benezit adds, “Les albums de Maugendre sont rares et recherches”.

951

MAUGENDRE, A[dolphe]. Dieppe et ses environs. Vues eglises, monuments et sites pittoresques. Dieppe, A. Marais, 1860. Oblong 4to, 18 handcoloured lithographed plates, all captioned, map of Dieppe loosely inserted at the end, original green cloth gilt. Benezit 9, p. 582.

An attractive set of views of the Dieppe area of France by this talented artist and lithographer, a native of the area (see above).

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952

MERCEREAU, Ch. [and] MAURICE, Ch. Promenades dans les Pyrenees, vues, sites, costumes et moeurs, les plus remarquables de ce pays interessant. Paris, F. Sinnett [and] Paris, Imp. Frick Freres, [c. 1860]. Oblong folio, 35 handcoloured lithographed plates with views and costumes of the Pyrenees, by and after Charles Mercereau, en bistre, some heightened by hand and with gum arabic, double page panorama “de la Chaine des Pyrenees Pris de la Place Royale a Pau”, names and heights of the Pyrennean mountains given in upper margin, each plate titled in lower margin, tissue guards throughout, the whole bound in original pebbled cloth ruled in blind and with central titling on upper cover in gilt, gilt edges. Perret 2927; Labarere “Les Albums de lithographies de Charles Mercereau et de Victor Petit.” [Revue Pyrenees, No. 175. 1933. pp. 381 and following].

952

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This scarce work was edited by Sinnett and printed by Frick Freres in Paris. Charles Maurice, whose name appears on the title, also produced two other works on the Pyrenees in the same series, both listed, as is this, in Perret, who describes this present work as “rare and desirable”. Published in original parts between 1853-76; the plates are from a series produced by Labarere in “France de nos Jours”. Laberere wrote an article on Mercereau’s mountain views.

953

954

MĂ&#x153;LLER, Elisabeth. Le monde en estampes, geographie pittoresque, types et costumes des principaux peuples de lâ&#x20AC;&#x2122;univers. Paris, Amedee Bedelet, [1858].

[PARIS]. Paris et ses environs. Paris, Louis Janet, [1828].

Oblong quarto, title, text 24pp, 243 hand-colored lithograph plates. Contemporary red pebbled cloth, rebacked in red calf. Colas 2153; Lipperheide 70.

Small 8vo, pictorial title and 10 handcoloured engravings. Bound in white cloth, gilt panel border, green paper slipcase. Not in Abbey.

955

PERRIN. Album du Nouveau Bellevue. Paris, 1826. Folio, 6 handcoloured aquatint plates on tissue, mounted on leaves. Half calf over marbled boards; new marbled endsheets; original wrappers bound in.

THE

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956

957

PETIT, Victor. Bagneres de Luchon et ses environs. Pau, Libraire Bassy, Bagneres-de-Luchon. Paris, Charles Boivin, n.d.[c.1830s-1860s].

PIGAL, Edme-Jean. Receuil de Scenes de Societe. Paris, Chez Gihaut et Martinet, lithographed Pigal, printed by de Langlume, [1822].

Oblong folio, 25 tinted and hand-colored lithographic views, including 2 panoramas. Original green cloth lettered and ornamented in gilt and blind with four filigree silve-plated corners; rebacked in green calf. Not in Abbey.

4to, title, 50 handcoloured lithographed plates, the plates numbered 1-50 carry a running title “scenes de societe”, with title and address beneath,19th century quarter red calf over red cloth boards. Ray, The Art of the French Illustrated Book, pp. 195, 128; Hiler 2367; Colas 2366.

Colas states that these plates exist coloured as well as uncoloured. He also remarks that he has never come across a title page nor an original wrapper bearing the title for this work, although this present copy does apparently include a title bearing “The scenes represent humorous interludes involving two or three people.”

142

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957 THE

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959

144

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958

959

PIGAL, Edme Jean. Moeurs Parisiennes. Paris, Chez Gihaut et Martinet. Lith. de Langlume, [1822].

PIGAL, Edme Jean. Medailles et contrastes. Paris, Chez Gihaut Freres, [n.d., c. 1830].

Folio, 50 handcoloured lithographed plates no. 1-50, showing various groups of Parisians in a variety of dress, contemporary crimson half morocco over marbled boards. Ray, The Art of the French Illustrated Book, 130; Colas 2367; Hiler 2367; Lipperheide 3676.

Folio, lithographed title on original tan wrappers bound in, 24 handcoloured lithographed plates by Langlume after Pigal, red pebble grained cloth-backed boards. Not mentioned in Ray or usual bibliographies.

The Garnier copy had a title but this was never seen by Hiler nor apparently has it been seen by Colas, who states that the plates are interesting for the costumes of Paris, and confirms that he has never seen a title page nor original wrappers with title for this work. Interestingly Baudelaire wrote in support of the artist, that “Pigal’s scenes are good. It is not that the originality is very lively, or even that the design is very comic. Pigal is comical in moderation, but the feeling in his compositions is good and just. Pigal does play to the groundlings, but no one would accuse him of excessive delicacy, he knows his world and can depict it incisively in his lithographs.” It has been said that whilst Pigal was a fine painter, it is his lithographic art which remains his finest legacy. His earthy brand of caricature was closer to the satirical art of Gillray, Cruikshank and Rowlandson in England, rather than the contemporary political caricature of France.

Only three albums of Pigal’s work have been sold at auction in the last 25 years, and none of these included this particular work, which must be considered extremely scarce. The subject of the work was the monument to a French general; the medailles (medals) refer to the subject matter of the work and the contrastes (contrasts) to Pigal’s already superlative technique and mode of reproduction.

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960

961

[SACRE DE NAPOLEON]. Ceremonies et fetes du sacre et couronnement de leurs majestes imperiales Napoleon Iier et son Auguste Epouse. Paris, Chez Bance, 1806.

[SARGENT-MARCEAU, Antoine Louis Francois]. Portraits des grands hommes, femmes illustres et sujets memorables de France, graves et imprimes en couleurs. Paris, Blin, [c.1789-1792].

Folio, 7 coloured plates, half green morocco over marbled boards.

Two volumes, small folio, sepia aquatint title, engraved dedication, 192 copper engraved plates printed in colour, modern crimson morocco ruled in gilt, custom-made slipcases. Ray, The Art of the French Illustrated Book, 86; Cohen de Ricci 951-952.

A magnificent book depicting the coronation of Napoleon I as Emperor. Louis Le Coeur, fl. 1780-1806, is credited with the original designs for all the plates and with the engraving of 5 of them. The remaining two plates are engraved by Marchand and Aubertin respectively. The plates are quite spectacular with a marvellous firework plate, another plate with a balloon, etc.The deluxe issue with plates coloured.

In his dedication to the King, Pierre Blin, the publisher, promised portraits of “all the heroes of France, with an image of their most glorious deed.” The pattern which Sargent followed was established in the first two engravings: a portrait of King Louis XVI, and an allegorical plate after Duplessis-Bertaux called “The Independence of the United States”, in which this historical development is represented as largely the failure of France’s monarch. Ray remarks on the considerable proficiency of the engraving, but adds that the printed colouring [a relatively new process] was “bold to the point of garishness”.

961 THE

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963

VERNET, Carle [and] DEBUCOURT, Philibert-Louis. Collection de costumes dessine d’apres nature par Carle Vernet et graves par Debucourt. Paris, Chez Charles Bance, [and] London, BossangeMassen, 1814-1824. First edition. Folio, 7 original parts issued in printed wrappers, 1ll. title, 14ll, text in French and English for the first 42 plates, 56 handcoloured aquatint plates, nos.1-6 for each of the seven parts, 14 final plates unnumbered, these leafed with protective tissue sheets, 19th and 20th century red straight grained morocco, single gilt fillets, spine flat and gilt in compartments, raised bands, top edge gilt. Colas 2984; Cavot, Carle Vernet 73-81; Fenaille, Cat. De l’Oeuvre grave de Debucourt 335-391; Glasser pp. 77-79; Rahir 669; Vicaire II, 538; Hiler p. 874.

962

SCHEFFER, Jean Gabriel. Ce qu’on dit et ce qu’on pense, petites scenes du monde. Paris, [Gihaut Freres, 1829]. Oblong folio, lithographed title, 60 handcoloured lithographed plates, full maroon cloth, black calf label on front board. Hiler p. 781; Lipperheide 3684-86.

Shows French life of the period in caricature. Lipperheide notes two other titles containing caricatures by the same artist: “Scenes de jeunes gens” (Paris, Martinet. c. 1825), this with 34 coloured plates; and “Receuil de cinquante Scenes de Grisettes” (Paris, Delpech c. 1826), with 50 coloured plates. Interestingly two years after Scheffer’s “Scenes de Grisettes”, Monnier famously published his collection of plates on the habits and life of the grisettes (see below for additional titles by Monnier), the newly impressionable young women and girls of Paris, who were also endowed with strength of character, particularly in their dealings with the opposite sex.

It was envisaged that the work would be a collection of costumes peculiar to several nations of Europe, England, Scotland and others.The first livraison (part) included four English costumes ending with an adieu from a Russian to a Parisian lady and a gallant Cossack. The whole includes costumes of civilian, military types, merchants and street vendors trading in everything from rabbit skins to fish, ending with a nursemaid walking with the children, an English tea and a walk in the Bois de Vincennes. The plates were offered in two states, coloured and uncoloured, and titled or untitled; single or in parts, the portrait of a bearded sitter was usually uncoloured. This was a speculative enterprise on the part of the two accomplished artists, adept at the fashionable. Victor Adam produced copies of 36 of these plates, reduced and lithographed on 12 plates under the title Scenes et Costumes diverses de Carle Vernet, lithographies par Victor Adam (Paris, Chez Aumont and London, Bossange-Masson, Great Marlborough Street; 8vo, 1831; Colas 2985). The identity of the two artists guaranteed its success.There were a number of plates from the series which were never bound into parts. This work must be considered as rare. It does appear with the plates uncoloured (Hiler).

963

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Works of Henry Monnier (1799-1877)

from the collection of Count Greffhule, banker and noted collector

f Monnier, the humorist, Bret Harte, the American author wrote, “It is only the true humorist who knows how to ensnare his audience and at the same time amuse himself with his own humour.” This is a remarkable collection of the works of Henry Monnier, labelled in his time as “the mystifier”, with perhaps more complete sets of the illustrations than any other known.As Monnier depicted himself, there were print dealers in Paris at this time as well as book dealers. They specialised in selling albums containing a variety of plates from various works to their eager costumers, which meant that many of the sets of works such as these were broken up in creating the mixed albums of prints then much in demand, hence the extreme scarcity of a collection such as this.These works were in the collection of Count Greffuhle, 19th century Belgian banker, noted connoisseur and collector in several fields (Sotheby’s, Monaco, 1982). Monnier grew up in post-revolutionary France and matured in Restoration France, and it was this new France which he depicted so brilliantly. Monnier studied with artists, Girodet and Gros, later becoming a friend of Bonington and Lami. It has been remarked that his first lithographs were reminiscent of English caricaturist Rowlandson. From 1825-27 Monnier, as other French artists at this time, visited London, where he collaborated with Lami in “Voyage en Angleterre”. On his return to Paris he began a series of albums in which he recorded the manners and humours of his city with unprecedented profusion, whilst creating an insatiable demand for his caricatures. Gautier and Baudelaire accused him of coldness and detachment. Ray counters that his work was neither dry nor cold. Monnier personally was a social success, and he and

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his circle were among those who defined the new Parisian chic, moving away from the old social centres of power to the newly smart areas, such as the Marais. Balzac was finally to make some amends for his earlier, somewhat harsh, judgement of Monnier, writing, “Henry Monnier speaks to all men strong and discerning enough to see further than others see.” (Ray, pp. 119-120); others credited him with the creation of the new breed of self-possessed young women of Paris, les grisettes. However this catalogue does have a slightly earlier study on the same subject by another writer (Scheffer). Nonetheless, the visualisation of this new breed should perhaps be credited entirely to Monnier. Monnier and his contemporaries were from the period which has been described as that of Romantic Lithography. The medium for book illustration up to the revolution had been that of copper engraving or possibly latterly aquatint. Post-restoration this was replaced by the dazzling new process of lithography, engraving on steel, or the revival of wood engraving. This period of French lithography lasted from 1817 up to the 1850s and was perhaps the greatest of the schools of the medium. This catalogue offers a fascinating collection of French Romantic lithography, including complete works by the artists Daumier, Gavarni, Lami, Monnier, and Le Prince, all active at this time. The question of the dating of the handcolouring in this collection of works is without doubt contemporary. While Daumier’s and Gavarni’s works stood as black and white outline lithographs and are generally considered better, those of Monnier and Lami would be incomplete without handcolouring, which would have been undertaken at the time of publication.The same could be said of Rowlandson’s caricatures in England

965

966

972

971

973

978

984 THE

EXOTIC AND THE BEAUTIFUL 151

964 964

965

MONNIER, Henry - [SENEFELDER]. Exploitation generale des modes et ridicules de Paris et Londres. Paris, Gihaut, [c.1824-1827].

Les Grisettes, dessinées d’ès Naturel […] Paris, H. Gaugain & E. Ardit, Paris, [n.d.] ca. 1827.

First issue. 4to, 6 handcoloured lithographed plates by Senefelder after Monnier, original pictorial paper wrappers bound into modern period style cloth backed marbled boards. Champfleury p. 322; not mentioned in Ray.

Rare. One of the first series undertaken by Monnier. Champfleury comments that the lithography for this work is weak and primitive and lacks depth. It has been remarked in general regarding Monnier’s plates that they are among those works, as were Rowlandson’s, which required handcolouring to succeed. They were in fact lithographed a la plume, a medium which lent itself to subsequent handcolouring.

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Small folio, “premier triage”, coloured title page and 12 lithographed plates handcoloured. Modern half calf over marbled boards. Rare. Colas 2129; Lipperheide 3659.

967

966

967

Moeurs administratives dessines d’apres nature par Henri Monner ex-employe au Ministere de la Justice. Paris, [1827].

Esquisses Parisiennes. [Paris, Delpech, 1827].

Small 4to, handcoloured lithographed title, 6 handcoloured lithographed plates, modern calf backed boards. A COMPLETE SET of the first issue. This collection also has a second issue with 13 numbered plates and a frontispiece. Monnier’s plates were always lithographed “a la plume,” to better receive the watercolour washes. Champfleury 329 describes a large oblong folio; Hiler p. 627; Lipperheide 3665.

4to., First issue. 12 handcoloured plates, two of these in two states, coloured and uncoloured, modern half cloth over marbled boards.

The title mentions Ray’s former employment at the Ministry of Justice. The artist shows a typical governmental office hour by hour from eight to four and concludes with four salient scenes outside this time scheme. His principal themes are the inactivity of the staff, their lack of individual character, and their entire submission to superior authority.

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968

Esquisses Parisiennes. Paris, Lithographie de Delpech, 1827. 5 lithographed plates, coloured. Original wrappers with pictorial lithograph. [TOGETHER WITH]: Le tems. Sa brievetĂŠ, sa longueur, sa fuite, son cortĂ¨ge, ses bienfaits et ses ravages. Paris, Giraldon-Bobinet, 1828. [London, R.G. Jones] 9 plates. [also with]: frontispiece and 7 plates from Rencontres Parisiennes. Bound in moden green half cloth over marbled boards.

154

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969

Paris Vivant. Paris, Bernard et Delarue, [n.d.] Small oblong folio, â&#x20AC;&#x153;premier triageâ&#x20AC;?, complete with title page and 20 lithographed plates handcoloured. Modern half cloth over marbled boards with original plain grey wrappers lettered in black bound in. Very rare.

970

Collection de quinze vignettes destinees a orner les Chansons de P.-J. de Beranger. Brussels, 1827. 12mo, 15 handcoloured lithographed plates, original printed wrappers bound into 20th century half dark brown morocco, ruled in gilt over marbled boards. Ray, The Art of the French Illustrated Book, p. 199.

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971

Lithographies d’apres les Chansons de Beranger. [Paris], Bernard et Delarue [1828]. Oblong 4to, 24 handcoloured lithographed plates by Monnier, with title under each and some with poem, all printed by Bernard.,“Publie par Bernard et Delarue, lithographed a la plume”, and handcoloured; each of the poems formed the title of each plate, modern period style half cloth over marbled boards, original lithographed wrappers bound in. This version not mentioned in Champfleury; Ray, The Art of the French Illustrated Book, p. 134.

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Beranger was the most frequently illustrated writer of the period. Monnier continued the tradition with his suite of 1828 and no subsequent artist surpassed him in sympathy and versatility. Rare complete (Ray). Ray shows the plate of a French soldier, chained by the Moors, hailing the swallows of his native land which have flown south for the winter.

972

974

Chansons de P.-J. Beranger. Brussels, 1828.

Galerie Theatrale. Paris, Chez Gaugain et Ardit, [1828].

12mo, 18 handcoloured “images gallant” on papier velin, tipped in and interleaved, list of ‘titres des chansons’ bound in at end, half brown morocco gilt ruled, boxed in half brown morocco box gilt ruled simulating binding, spines raised bands gilt ruled.

4to, lithographed frontispiece, 24 handcoloured lithographed plates. Champfleury, 322; Ray, The Art of the French Illustrated Book, p. 199. Champfleury calls for frontispiece bearing imprint, possibly our original wrapper, frontis. Chez E. Ardit editeur, plates lithographed by E. Ardit, modern half cloth.

Monnier was a great admirer of the works of de Beranger.

973

Moeurs Parisiennes. Paris, Lithographie de Delpech/Chez Gihaut, lithographie de Vilain, 1828. Second issue. 3 plates uncoloured and before the letter, two black and white and after the letter, 10 handcoloured lithographed plates, all bound in modern cloth, label on upper cover.

The great interest of the work lies in 16 additional plates all but one signed and coloured by Monnier himself (“Acrobats”, the first plate of the Galerie Theatrale). Ray’s footnote to this work underlines his general remark regarding Monnier’s caricatures, that it is the handcolouring which creates the brilliance of the work. Ray lists this work along with the Grisettes, Moeurs Administrives, etc., as one of his more closely focused surveys.

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975

Six Quartiers de Paris. Paris, Delpech, 1828. First issue. Small oblong folio, title repeating image of wrappers, and 6 unnumbered lithographed plates, in two states, handcoloured and uncoloured, large margins, modern calf backed marbled boards. Champfleury p. 332.

The plates show the Marais; Chaussee d’Antin; Faubourg Saint-Honore; Quartier Saint Denis; Quartier de la Bourse; and le Baubourg Saint-Denis—all areas which became newly popular in Paris following Monnier’s works. One of Monnier’s best suites (Champfleury).

976

Les Grisettes; leurs moeurs, leurs habitudes […] dessinees d’apres nature. Paris, Giraldon Bovinet, 1828. Engraved title page, [frontispiece, vignette in colour], 42 handcoloured lithographed plates, “publie par Giraldon Bovinet, lithographed de Bernet”, later half calf over marbled boards, original lithographed wrappers bound in. Ray, The Art of the French Illustrated Book, 133; Colas 771 2129, for the edition with a suggested date of [1827].

“The most piquant and original of Monnier’s albums. The grisette was an impressionable girl, virtually Monnier’s

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discovery. His drawings were inventive and the persuasion of his captions unfailing” (Ray). In the words of his title Monnier “drew after nature.” Their habits, their qualities, their mistakes, and their weaknesses, but the girls in his images were likely to get their own way in every situation. The images and their captions give a complete picture (Ray). In fact, as mentioned in this catalogue, an earlier work on the “Grisettes of Paris” by Scheffer had appeared shortly before Monnier’s work.

977

Jadis et aujourd’hui. Paris, Delpech, 1829. 4to, 3 plates uncoloured before the letter, two black and white, and after the letter, 10 handcoloured plates, bound in modern cloth, morocco label on upper cover. Champfleury p.329; Ray, The Art of the French Illustrated Book, p. 199.

Without series title, the lithographs are a natural progression of the Album des grisettes of 1829 (see below). “An interesting reminder of the influence of the late English 18th century rather gentle caricatures and their connection. In this series which on each leaf recalls the 18th and 19th centuries, Henry Monnier demonstrates a very special elegance and finesse. He knew the age of Louis XV as well as Meissonier; the personalities of the past whom he brings to life behave and move with ease, with no memoires of the Boutique de Babin” (Ray).

977

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978

981

Les grisettes dessinees d’apres Nature. Publie par H. Gaugain et Cie, Chez Delpech, [1829].

Le temps. Paris, Publie par Giraldon-Bovinet, lithog. Bernard, [n.d. But between 1828-1830].

Second issue. Oblong folio, handcoloured vignette title, 6 handcoloured lithographed plates, original wrapper bound in dated 1829.

979

Les Petites Felicites Humaines. Paris, Delpech edit. Et Imp. En Lith. [1829]. 4to., 5 handcoloured plates, 6 plates uncoloured, lithographed a la plume pour coloriee, modern half cloth over marbled boards.

980

Esquisses Parisiennes par Henri Monnier … Paris, Delpech, [1829]. 4to., 5 original lithographed and handcoloured plates bound in, 12 leaves and frontispiece, 7 plates, original paper wrappers bound in. 978

Oblong 4to, 9 handcoloured lithographed plates, 3 in two states, both coloured and uncoloured, by Bernard after Monnier, duplicate of plate No. 9, cut and mounted within a black rule, signed in ink by the artist and with some additional ink markings, engraved bookplate of Aristide Marie, author of L’Art et la Vie romantique. Ray, The Art of the French Illustrated Book, p. 199; Champfleury p. 332.

A very rare series of Monnier’s prints of Le Temps. The important Gerbault collection only included these three plates listed.The plates include LeTemps de Partir; LeTemps adoucit les Chagrins; Le Temps fait passer l’Amour, etc.

979

982

983

Les petites miseres humaines. Paris, Delpech. [1829].

Boutiques de Paris. Dessinees sur Pierre par Henri Monnier. Paris, Delpech, [1830].

First issue. 6 handcoloured plates, two in two states, coloured and black and white, modern half cloth. Champfleury 331.

Champfleury quotes five of the small human miseries: Childhood;Youth; Maturity; Old- Age; Cold.

4to., 6 handcoloured lithographed plates, original wrappers bound in, later morocco backed marbled boards. The plates include Marchande de Modes; CafĂŠ; Apothecaire; Marchand dâ&#x20AC;&#x2122;Estampes; Bouquiniste; Restaurateur, etc. Ray, The Art of the French Illustrated Book, p. 199.

Ray describes this work as one of the more closely focused surveys, in the same grouping as Les grisettes.

984

Esquisses morales et philosophiques. Paris, Delpech, [1830]. Oblong folio, 6 handcoloured plates, original handcoloured upper wrapper, bound in modern half cloth. Champfleury 321.

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986

Les passe-temps. [Paris, Delpech, n.d.]

Distractions par Henry Monnier; a son ami George Cruikshank. Paris and London, Delpech, dessine et publie par Henri Monnier [1832].

First issue. 4to, 6 handcoloured lithographed plates, one in two states, two in duplicate. A COMPLETE SET, modern half calf over marbled boards.

Oblong folio, 18 unnumbered leaves, handcoloured pictorial lithographed title, 10 handcoloured lithographed plates, each with a number of vignettes, original wrappers bound in, modern half calf over boards. Champfleury p. 321.

Champfleury lists 6 plates and a frontispiece. He does specify that there are more than one image to a plate. Champfleury was also at the mercy of the fact that albums of these works were often incomplete and the plate count varied. The print dealers, in providing for the enthusiasm of collectors in Paris, made up albums of the work of various artists, leaving the original album incomplete. Champfleury generally supplies the provenance of the album he is cataloguing and describes whether the copy is incomplete or not.

986

985

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Rencontres Parisiennes, Macedoine pittoresques dâ&#x20AC;&#x2122;apres nature au sein de plaisirs, de lâ&#x20AC;&#x2122;activite, des occupations, du desoeuvrement, des travers, des vices, des miseres, du luxe, des prodigalites, des habitants de la Captale dans tous les Rangs et dans toutes les Classes de la Societe. Paris, Gihaut Freres & London Ackermann, lithographed by Senefelder, n.d. [but 1839-40].

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Small oblong 4to. First issue (two editions of this set exists), two series bound in one volume. First series with original front wrapper, 20 handcoloured aquatint plates, including frontispiece. Second series with original front wrapper, 22 hand-coloured aquatint plates, including frontispiece and one duplicate print, text in French and English. Modern half cloth over marbled boards. Champfleury p. 331; Hiler p. 627 mentions 26 plates, 9 coloured; Lipperheide 2665.

988

Rencontres de Paris et de Londres. Paris, Gihaut Freres, [n.d.]. Oblong 8vo, 7 plates, handcoloured and lithographed, contemporary half calf gilt. Ray, The Art of the French Illustrated Book, p. 199.

Ray describes this as one of Monnier’s “Potpourris from his titles in his human comedy. Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgement.” Ray adds to this description of Monnier’s work: “[N]o-one has depicted [the people of our time] more exactly, not even Balzac.”

988

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Recreations. Paris, Chez Buager, Imp. D’Aubert, [1839-1844]. Lithographed Bernard et Delarue, Publie a Paris par Giraldon, London, Frith Street. 4to, handcoloured pictorial title, 33 lithographed leaves, 40 handcoloured lithographed plates, one trimmed, 6ll; several images to a leaf, contemporary half calf, gilt ruled. Champfleury p. 331. Another copy with 6 leaves, several images to a leaf, gilt ruled, spine flat and gilt.

It was in La Caricature of 31 May 1832, under the pseudonym Alex. De B …, that Balzac made a prophecy about the future which awaited Henry Monnier: “The work which we announce ‘Recreations’, is an extremely distinguished work in which Monnier never repeats himself […] Perhaps his humour is a little tortured; but if it demands some thought [study], thus it only consolidates the laughter which he arouses [...] If M. d’Argout [Minister for the Arts] knew anything about the arts he would give Monnier a pension.”

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NORTHERN & EASTERN EUROPE

INCLUDING THE LOW COUNTRIES, SCANDINAVIA, NORTHERN RUSSIA & POLAND

990

[ALEXANDER III]. Description du sacre et du couronnement de leurs majestes imperiales l’Empereur de Toutes les Russies Alexandre III et l’Imperatrice Marie Feodorovna en l’Annee 1884. St Petersburg, Imprimerie de l’Academie imperiale des Sciences. 1886. First edition. Large folio, 125pp., chromolithographed title, frontispiece, two chromolithographed portraits and 22 chromolithographed plates by Zichy and others after Simakov, Makovskii, Sokolov, Savitskii, Karazin, Polenov, Kramskoi, Vereschagin, Makorov, Bogdanov, Grigor’ev, Aleksandrovskii,

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Surikov and Samokish, decorative initials and illustrations in the text, some chromolithographed, text printed in black, blue and red, extra-illustrated with a full-page chromolithographed limitation statement, rebound preserving the original printed paper cover, from the library of Comte de Moy, his personal copy. Lipperheide 2757; Hiler p. 232.

One of only 200 copies.The Coronation Album of Alexander III illustrates the ceremonies and events in Moscow on the occasion of his coronation. This was printed in a small edition for presentation to members of the Imperial family and foreign dignitaries participating in the celebrations on 15 May 1883. According to Burtsev it was never offered for public sale and is accordingly extremely rare.

991

[ANTHING, Friedrich, artist; Johann RICHTER, editor]. Ansichten von St Petersburg und Moskwa und einigen merkwuerdigen Oertern der umliegenden Gegenden. Leipzig, Industrie Comptoir, [c. 1806]. First and only edition. Oblong folio, 14 engravings on 13 pages, handcoloured and heightened in gum arabic, captioned in German, original printed boards. Not in Abbey or other usual bibliographies.

Most of these very scarce 19th century views of Moscow and St Petersburg and the surrounding country are by Friedrich Durfeldt after Anthing. Anthing was a German officer and biographer of Count Suvarov, known mainly for his silhouettes of famous figures at the Russian Court in the late 18th century. After Anthingâ&#x20AC;&#x2122;s death Johann Richter kept his drawings and plates of Russia, publishing them in this present work.

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992

BAERENTZEN, Emanuel, publisher. Collection des Vues de Copenhague. [Copenhagen], Em. Baerentzen, [c.1860]. Oblong folio, 12 colour lithographed plates with printed captions, each mounted on grey stock. Cloth backed printed boards; front board printed with title, publisher and view in black ink. Not in Abbey.

993

BING, Valentyn [and] UEBERFELDT, Braet von. Nederlandsche Kleederdragten Naar de Natuur geteekend door Valentijn Bing en Braet von Ueberfeldt [Costumes des Pays-Bas dessines d’apres Nature … ]. Amsterdam, Frans Buffa en Zonen, Hoeck Gapersteeg, (lithographed by Van Desguerrois et Co), 1857. First edition. [First Series only]. Large folio, iii, 56 ll., xiv textleaves, title page, [v blank], contents v.b., description of the plates on 14 leaves in Dutch and French, 14 original parts, 14

ll., text in Dutch and French, index 1 leaf, 36 unnumbered coloured lithographed plates, a second set of 18 plates lithographed by De Vries Jr, 56 lithographed plates after Bing & Braet, printed by Desguerrois and lithographed by R. de Vries Jr in attractive colours, each plate has some two to thirteen illustrations of costumes of men and women from different regions in the Low Countries. Original lithographed wrappers, one for each part, bound into morocco-backed cloth folder with arms of the Netherlands in gilt on upper cover, Hiler p. 91; Colas 333; Landwehr 242; Vinet 2221; Lipperheide Gb59; Meyer Ette 1939.

The work was produced in two states, both on large paper. In the first, the costumes are coloured but not the backgrounds, while in the second, and more expensive state, the costumes and backgrounds are coloured, as in this copy. Described by Landwehr as “the most variegated costume book of the Low Countries,” adding that it was published in fourteen instalments. Vinet describes this as a beautiful publication and adds that it is not mentioned in the French bibliography Lorenz, and otherwise little known to us. Landwehr also mentions Moeurs et Usages de la Hollande, Dessines d’apres Nature parV.B. et B.v.U. (Amsterdam 186061; 5 volumes, large folio, 15 coloured plates).

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995

BUDDEUS, Carl. Volksgemaelde und Charakterkoepfe des RussischenVolks von Carl Buddeus. Tableau des moeurs et des usages, des occupations et des divertissements des russes ou suite de dessins originaux dâ&#x20AC;&#x2122;apres nature. Leipzig, bei Joh. Friedr. Gleditsch, 1820.

[CERCLE ARTISTIQUE - W. LEROY]. Souvenirs de la fete donnee le 26 Septembre 1848. Par le cercle artistique et litteraire sous le patronage du Roi, du gouvernement et de la ville de Bruxelles aux artistes exposants et aux membres du congres agricole. Brussells, Dero-Becker, 1849.

2 parts, folio, 12 pp. text in German and French, 16 engraved handcoloured plates numbered 1-16, original printed boards serving as titles. Colas 481; Lipperheide Kaa34; Hilmy p.125.

Large folio, 2ff, 6pp., 2ff., armorial frontispiece, 16 handcoloured lithographed plates heightened with gum arabic after Billoin, Fournois, Huart, Lauters, Stroobant, Schubert, W. Leroy, green morocco backed boards covered in paisley print on velvet, arms of King Leopold of Belgium stamped in gold on sides. Lipperheide 2831; Vinet 8283; Ruggieri 1126.

An interesting and attractively illustrated work describing the customs, habits, occupations and amusements of the Russian people. Possibly also scarce, as both of the usual costume bibliographies cite only imperfect copies.

995

A beautiful publication produced in a small number with each plate being accompanied by printed tissue. A spectacular event recorded by a group of the foremost artists working in Northern Europe, specifically Belgium, at this time. King Leopold was deeply involved in the arts, and it was during his reign that the Palais de Justice, which with its vantage point and its enormous cupola dominates the skyline of Brussels, was built.

997

996

997

CLAASSEN, Ferdinand. Souvenir dâ&#x20AC;&#x2122;Ostende. Brussels, [c. 1860].

DE JONG, D. [and] M. SALLIETH (engravers). Atlas van der Zeehavens der Bataafsche Republiek. Mitsgaders de Afeeldingen van de Haring Visscherij en de Walvisch Vangst. Amsterdam, E. Maaskamp, 1805.

First edition. 4to, lithographed title with general view of the town, 12 handcoloured lithographed plates finished by hand and heightened with gum arabic depicting the town, one plate folding, these after Canelle, 8 lithographed costume plates, and 10 handcoloured caricatures, original red ribbed cloth, embossed and gilded, gilt edges. Not in usual bibliographies.

This work shows views in the Cercle Ostend-BrussellsBlankenberghe and the topographical plates include seaside and bathing scenes.

Folio, 31 double-page hand-colored engraved plates. Contemporary vellum and blue boards. Not in Abbey or Landwehr.

An important historical work on the Dutch trade and activities at sea, esp. whaling and herring fishery, with magnificent views of the harbours of the Netherlands, including Batavia

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999

EKMAN, Robert William. Svenska National-Dragter.Technade AF R.W.E. (Lappland.Wingaker.-Dalarne) […] Jemte Skildringar Ur Folklifvet Af G. H. Mellin, [Stockholm, 1847-1849].

GEORGI, Johann Gottlieb. Description de toutes les nations de l’empire de Russie, ou l’on expose leurs moeurs, religions, usages, habitations, habillemens et autres particularites remarquables. St Petersbourg, Karl Wilhelm Muller, 1776-[1780].

Quarto, 21 color lithograph plates. Original green fine combed cloth, gilt. Not in Lipperheide or Colas. Hiler, p.268.

Large 4to, 4 volumes in one, Vol. I: general title, title, list of plates, 25 engraved handcoloured plates numbered 1-25; Vol. II: title to second part, index of plates for this second part, 30 engraved handcoloured plates numbered 26-55; Vol. III: title to this part, index of plates, 20 engraved handcoloured plates numbered 56-75; Vol. IV: title to fourth volume, table of plates to this volume, 20 engraved handcoloured plates, numbered 76-95, A COMPLETE SET OF 95 PLATES, this copy lacks a small amount of text in the fourth part, which was issued as late as 1780, the four volumes bound together in calf over contemporary boards, spine gilt decorated and lettered. Colas 1224; Vinet 2316; Rahir 440; Brunet II, 618; Lipperheide 1337 for the German edition.

The extended title is in gilt on upper cover. The book is comprised of 11 parts of an intended 50.The set was never completed and no general title was provided.

These plates are identical to those to be found in the German edition. Colas states that he has never found text for this French edition despite the summary description by Brunet (II, 618) which leads the reader to believe that there exists a quarto text.The de Jonghe copy (No. 10) had the first two parts, each under its own volume description. The first volume includes a Nations of origin and Finnish costume; the second volume the Tartar Nations; the third, Samoyede, Mantchous and Oriental Siberian; the fourth volume includes Mongols, Russians and various other nations. In describing the first edition of 1774-1775 (also in French), Colas remarks that he had only ever encountered 9 parts with 45 engraved and coloured plates of the first edition. 174

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1000

plates of ceremonials, 17 coloured, including a chromolithographed

GERUZET, Jules (editor). Ceremonies et fetes du marriage de S.A.R. Monseigneur Le Duc de Brabant et de S.A.I. et R. Madame MarieHenriette-Anne, Archiduchesse dâ&#x20AC;&#x2122; Autriche, celebre a Bruxelles, le 22 aout 1853. Brussels, Geruzet, 1853.

armorial frontispiece, modern half tan calf with original printed grey

First edition. Folio, half title, 30pp., list of plates, 1l; 20 plates, frontispiece portrait of King Leopold I of Belgium, coloured lithographed portraits of the couple, one engraved, 18 lithographed

upper wrapper laid down on upper board. Lipperheide Sd41; not in Colas, Hiler, nor Hilmy.

A spectacular set of plates of the ceremony surrounding the marriage of the Duke of Brabant, heir to King Leopold I, in Brussels on 22nd August 1853 to the Archduchess of Austria. Leopold I was responsible for some of the grandest architecture in Brussels, particularly the Maison de Justice, which rises from a hill above the city.

1000

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1002

HAGHE, Louis. Sketches in Belgium and Germany. Second Series. London [Graves & Co.], 1845.

HOLDERNESS, Mary. New Russia: Journey from Riga to the Crimea. London, 1823.

Folio, 26 tinted lithographed plates, heightened with gum arabic and mounted on card, without dedication and letterpress and the advertisement included in some copies, publisher’s binding, half brown morocco gilt over brown cloth. Abbey Travel 37; Martin Hardie p. 248.

8vo, 3 handcoloured lithographed plates, 2 plain lithographed plates. Contemporary half calf and marbled boards. Atabey 588 cites second edition. Not in Abbey or Tooley.

This work is the second volume in Haghe’s series of sketches in these regions.These plates show buildings and scenes in Oudenarde, Liege, Antwerp, Louvain, Munich, Ipres, Bruges, Tournay and Mons, the work ending with Ruben’s tomb in Antwerp. The other two works in the series were published in 1840.

176

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1004

KOSSAKA, Juliusza (artist); Stanislas TONDOSA. Klejnoty Miasta Krakowa.

[KRUYF, H.G., C. SPRINGER, H. GREEVEN, H.G. ten CATE, J.C. GRIEVE and others] Souvenirs de Holland [spine title]. Amsterdam, Frans Buffa and Sons, c.1825-1854.

Folio. Illustrated with 24 chromolithograph plates, each mounted on card, each illustration accompanied by a page of descriptive letterpress, all pages tabbed for ease of opening, Modern half morocco gilt.

Uncommon collection of atmospheric views of Krakow providing an in-depth look at the city towards the end of the 19th century.

Large quarto, lithographed map the Netherlands and 120 colour lithographic views (topography, architecture, costumes, etc.) Publisherâ&#x20AC;&#x2122;s half red morocco, red cloth sides gilt; most issue guard leaves present. Some plates were drawn on stone as early as 1825, but most published around 1850. All, or nearly all, were published by Frans Buffa and Sons in Amsterdam. Landwehr 289,317,327,339,443,444 cites many of these plates in this series of six. See also Bobins 424 where some of these plates also appear.

1003

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1004

1005

1006

LARSEN, Ferdinand, lithographer; P. LUND; I. REGNAU, and others. Prospekter af Offentlige Bygninger I Kjobenhavn og Omegn â&#x20AC;Ś Beskrivelser. Copenhagen, C.W. Stincks Forlag, [1865].

LOIRE, L. M[archan] M[archan]ds ambulants de St. Petersbourg [title to cover]. Lemercier, Paris, for Dazario [St.Petersburg, ca.1820-30].

4to, 50 handcoloured lithographed plates, showing views and architecture of Copenhagen, by Larsen after Lund, Regnau, and others, contemporary half black pebble-grained morocco over black cloth. Lipperheide GB46.

Landscape octavo, 24 handcoloured lithographs, heightened with gum arabic. Contemporary blind-stamped black cloth. No copy in the UK, Library of Congress and the NYPL; not in traditional costume references such as Hiler or Thieme-Becker.

Larsen was famous for his lithography and his architectural views of Copenhagen, forming an institute to execute and promote his topographical work.

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LUND, Frederik Christian. Danske Nationaldragter tegnede af F.C. Lund. Copenhagen, Forlagskonsortium, 1890.

various parts of Denmark, original mauve cloth portfolio gilt.Colas 1918 (for first edition with 12 plates); Lipperheide 1048 for this edition and for first edition of 1850; Hiler p. 555 includes a later edition published in Kolding reproducing the 31 coloured plates of this edition (1916). This latter with text by art historian Sigurd Muller.

Second edition. Large 4to, lithographed title, 31 chromolithographed plates unnumbered, text by Wilhelm Bergsoae, original chromolithographed covers, the work presented in five parts each with 6 coloured lithographed plates showing life in

The Danish Civil War (1848-50) was part of a nationalist movement which developed throughout Europe following the end of the Napoleonic wars and was mainly centred on

1007

Schleswig-Holstein. Frederick Christian Lund volunteered for service in his country, taking with him a sketchbook. He was keenly interested in the country people of Denmark and their traditional dress. Post-war he travelled with the encouragement of friends through the rest of the country to complete his set of drawings. The original watercolours were sold to a Swedish collector. This is perhaps the most important work on Danish costume.

1008

LUTGERS, Petrus Josephus (1808-1874) [and] Willem Jan HOFDIJK (1816-1888). Gezigten in de Omstreken van Utrecht. Opgedragen aan H.M. Koningin der Nederlanden. naar de natuur getekend en op steen gebragt … door P.J. Lutgers met geschiedkundige aanteekeningen van W.J. Hofdijk.Vignette “Bouwvallen van het slot te wijk bij duurstede, 1869 (naar de natuur getekend en op steen gebragt door P.J. Lutgers met geschiedkundige aanteekeningen vanW. J. Hofdijk, vignette “Bowvallen van het slot te wijk bij duurstede, 1869. [Amsterdam? Haarlem], Franz Buffa & Sons, Haarlem [the widow A. Loosjes Pz.], 1837-1844, 1869.The Hague J.D. Steuerwald 1869. First edition. Folio, lithographed title and 6pp., xviii pp. and 87 plates, II leaves, xviiipp., II leaves and 87 plates, tinted lithographs by P.J. Lutgers printed by Steendrukkerij van J.D. Steuerwald, 90 handcoloured lithographed plates on chine by P. Lauters after Lutgers, later half red morocco gilt. Landwehr 356; Springer Bibl. Overzieht p. 96; Karlsruher Virt. Kat (one copy); NCC & Picarta (4 copies); OCLC World Cat.; not in Kunsthistorische Bibliothek, Rijksmuseum, Amsterdam for artist see Scheen pp. 325; 497.

Rare first edition of the most detailed set of views of stately homes and gardens, buildings and landscapes in the vicinity of Utrecht. As well as views of Haarlem, the plates include Heemskerk, Beverwijk, Velsen, Bloemendaal, Heemstede, Zandvoort, Vogelenzang, Bennebroek en Hillegom. Plates also show views of parkland and country houses, these after Lutgers and printed by Desguerrois in Amsterdam and Backer in Utrecht. Amongst these is a view of the façade of the Hope mansion, the Pavilion at Haarlem, and a plate of one of the interiors. This was the country house of Henry Hope, banker and art collector, famously designed by Leendert Viervant, 1783-1801. Eighty-eight tinted lithographs including views which show people in the foreground, boats on the canals and an overview of life in Utrecht. A scarce work, giving the history of the houses depicted; only six other copies are known.

1009

LUTGERS, P[etrus] J[osephus]. Gezigten in de Omstreken van Haarlem […] 1837-1844. Amsterdam, Franz Buffa & Sons, [1844]. Folio, 90 color lithograph plates. Later half maroon morocco gilt and marbled paper sides. Not in Abbey or Landwehr. Landwehr 356 does cite Lutgers’s Utrecht book (see above) but not this title. Scarce thus.

1009

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1011

NACHTMANN, Xavier. Collection de divers costumes composant les quadrilles du bal masque donne a Munic [sic] le 15. fev. 1827. Dessinee et lithographiee d’apres nature par X. Nachtmann. [Munich, 1827].

PAETZ, Wilhelm. Ansichten Ni(e)derlandischer Stadte. Coblentz, K. Baedeker, Rotterdam, A. Baedeker, ca.1850.

4to, 14 fine numbered lithographed plates, of which 8 handcoloured and heightened with gold and silver, plates show couples dressed in the costumes of Roman carnivals, and of carnivals in general, 6 first plates represent costumes of Sir Walter Scott’s Ivanhoe, others costumes of Hungary, Italy, the Bedouin, Greece, Albania, the final two plates show Roman carnival costumes, bound in contemporary half red long grained morocco, sides papered in red, monogram AA for Augusta Amelia surmounted by crown on sides. Hiler 639; Colas 2177; Lipperheide 2567.

This the copy of Duchess Augusta Amelia of Bavaria (17881850), Vice-Reine of Italy and wife of Eugene de Beauharnais, step-son of Napoleon Bonaparte; the Duchess’s personal monogram in gilt on the sides. The query of the dating of 1827 for publication is Hiler’s.

Oblong octavo, 20 lithographed plates by J. Speerli and R. Bodmer, handcoloured and heightened with gum arabic, all after drawings by W. Paetz. Contemporary purple moroccobacked boards, lettered in gilt. From the library of Eric Wilhelm Aurivillius. Landwehr, Col.Plates 229; KvK (one copy: British Library); cf.Thieme-Becker XXVI, p.135; not in OCLC, WorldCat nor Picarta. 1012

PANORAMA -[J.VAN DEWALL BAKE & J.C. REIJNST]. Gecostumeerde Optogt Gehouden Door de Leven vn het Delftsche Studenten-Corps den 5den mei 1857. Delft, w. Beets, [1857]. Oblong quarto. Chromolithographed panorama heightened with gum arabic after J.H. Hoffmeister. Contemporary red cloth, new dark blue cloth box, maroon morocco label. Muller 7259. Copy cited by Rijksmuseum Research Library 1013

[ROTTERDAM]. Het ijs vermaak op de Maas te Rotterdam in Februarij 1855 met bijschriften. Rotterdam, VanGogh & Oldenzeek, Leyden, A.W. Sythoff, (1855). Oblong 4to, tinted lithograph title, preface dated 4 April, 1855, text 3pp, 6 color lithograph plates. Original brown cloth gilt, rebacked. Landwehr 481.

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SCHENK, Pieter (publisher). Views of Rotterdam. Amsterdam, Schenk, n.d. [c. 1700]. Small 4to, calligraphic dedication leaf within red ruled border, 16 engraved plates with contemporary handcolour, captioned beneath each image in Dutch and Latin, modern period style vellum. Not in Landwehr.

Schenk was a Dutch etcher, mezzotint engraver and publisher. German by birth, he moved to Amsterdam whilst young and became a pupil of his future brother-in-law, Gerard Valck. Together with Valck, Schenk bought up publisher Jan Jansz’s business. His importance lies in his activities as a publisher of portraits and series of topographical prints, rather than in his achievements as an

artist. He published various series of prints in colour. Most of his prints were etchings, although also mentioned are some mezzotints. This work shows views of Rotterdam and also Amsterdam, most of the images depicting the ports and shipping. The Schenk family, with their co-publishers, were among the most prolific and best-known publishers in 18th century Amsterdam.Although not original, the family bought printing plates from other cartographers which they presented in fine style, demonstrating the precision and elegance associated with maps and engravings produced in this period. Schenk and his partner republished an atlas of 1683. Later [c. 1696] his company published an Atlas Contractus and Atlas Minor; also a second edition of Andreas Cellarius’s Atlas Harmonia Macrocosmic (1708) and Jan Jansson’s Novus Atlas, which was printed by David Mortier in London (1715). It was during this period that Gerard Valck and Schenk combined forces and became a publishing entity.

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SCHLATTER, Daniel. Bruchstücke aus einigen Reisen nach dem südlichen Russland in den Jahren 1822 bis 1828. Mit besonderer Rücksicht auf die Nogayen-Tartaren am Asowschen Meere. Mit 15 lithographierten Abbildungen und einer Charte. St. Gallen, Huber & Co., 1830. First edition. 8vo, half title, title, preface, xx, 496pp.text, 4pp., 14 lithographed plates of which 12 are handcoloured and one large folding lithographed map by H. Bienz of Basle, original pale green paper-covered boards, handcoloured arms bearing the name Schlatter on front paste down. Lipperheide Kaa45; Colas 2666; Longchamp 2656; Engelmann II 860.

Schlatter, Swiss missionary, gives a detailed and important ethnographical account of his stay among the NogayenTartars on the Sea of Azov. A second revised edition appeared in 1838. Schlatter made three journeys to Southern Russia and to the North Coast of the Sea of Azov. His lithographs show Tartar costume, habitations, and both Tartar and Turkish script. The plates by J. Locherer after J. Bienz, show the German, Bulgarian and Jewish colonies in the area, giving geographical names of towns, rivers, etc. To an extent Schlatter was travelling in the footsteps of German naturalist and explorer P.S. Pallas, who journeyed through the Nogai lands in October 1794, providing the earliest glimpse of the Melitopol Nogais. Travelling from east to west, Pallas met with three Nogai clans, and the Yedissand horde that ranged along the Molochna River.The first state-appointed Nachalnik (chief) of all Nogais in the region, Baiazet Bey, was drawn from the latter. At this date the Nogais whom Pallas saw had only recently arrived in the Molochna, and unsurprisingly retained semi-nomadic practices. Schlatter’s work is an important contribution to the history of this fascinating and difficult area.

1017 1016

1017

SILFWERSKJOLD, Teodor von. Kroenung und Huldigung Oscar I. Koenigs von Schweden und Norwegen, und der Koenigin Josephine M.M. in Stockholm am 28sten September 1844 … nebst einem Anhang: Ursprung, Geschichte und Beschreibung der Schwedischen Ritter-Orden. Berlin, F.H. Morin, 1845.

STACKELBERG, Ernest. Scenes, paysages, moeurs et costumes du Caucase. Paris, Chez A. Hauser, [c. 1847]. Folio, title, 55 coloured lithographed plates, later half brown calf, over maroon cloth boards. Not in Lipperheide.

First edition. Small 4to, 102pp, 15 handcoloured lithographed plates, contemporary green cloth, spine lettered in gilt. Hiler p. 799; Lipperheide 2700-01.

Another edition appeared in the following year. Some of the plates, by A.U. von Schuetzercrantz, show the dresses of the Swedish Orders of Knighthood. The Swedish King had what was considered by contemporaries a very modern country house, surrounded by carefully laid out grounds, the full length windows of the mansion co-ordinating with the planned prospects in the garden. It drew visitors from all over Europe.

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STACKELBERG, Ernest [and] GAGARIN, Grigori, Prince. Le Caucase pittoresque, dessins dâ&#x20AC;&#x2122;apres nature par le Prince Gregorie Gagarine avec une introduction et un texte explicatif par le Comte Ernest Stackelbourg, dedie a Nicolas I. Paris, Plon Freres, 1847.

THIEME, Ferdinand (artist). Vospominanie o Moskve. Souvenirs de Moscou. 6 vues dessinees dâ&#x20AC;&#x2122;apres nature. Moscow, Bachman, 1856.

First edition. Folio, half title, title, 2pp., dedication to his Imperial Majesty Czar Nicholas, 22pp., introduction, pictorial lithographed title, general tinted lithographed map of the Caucasus and 80 lithographed plates (10 of which are chromolithographed, the remainder handcoloured by a later hand), contemporary half calf gilt. 4p., 1, 22 [65], lxxx, 20 lithographed plates, some tinted. Lipperheide 1385.

The plates show life and views in Armenia, Daghestan, a Georgian garden nearTiflis; another plate of Georgia, Chirvan; the shores of the Black Sea, Mingrelie, Escaramouche Persians and Kurds,Transcaucasia and a plate of the Cossacks of Azov. A rare work which, although never fully completed, remains the most lavish study of Caucasia of its time. The work was originally published in 20 original parts, containing a total of 80 plates. Each part contained a section of explanatory text to accompany the plates. Stackelberg had intended to publish further relevant text at a later date, subsequent to a new expedition to Caucasia. His expedition was thwarted and the text never published. Prince Gagarin was a remarkable draughtsman, who specialised in genre scenes, landscapes, battles, using watercolour and gouache. Many of his paintings are on display in Moscow galleries and museums. 186

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Oblong folio, 6 oval lithographed plates signed by F. Thieme, handcoloured and heightened with gum arabic, within wide gilt borders and captioned in Russian and French, loose as issued in printed wrappers, preserved in modern green morocco backed box, retaining bilingual title on front cover. Lipperheide Kaa 56.

The plates comprise 1, Country round Moscow including Novodevichy Monastery and Kremlin in background; 2, Walls of Kitay-Gorod, the cathedrals of St Basil, and of Christ-Saviour and the Kremlin; 3, View of Kremlin from the Kremlin Bridge. 4, Red Square, cathedral in background, this finished by hand; 5, Kremlin and Gardens/ Aleksandrovsky garden and cathedral of St Saviour appearing behind; 6,The Theatre (Bolshoi Theatre).

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VAN LIER (publisher). Panorama van de noordelijke provincien der Nederlanden, bevattende de schilderachtigste gezigten, kerken, hoofdgebowen, gedenkteekens, de belangrijkste straten en pleinen der steden, benevens, de wandelingen in en om dezelve. Naar de Natuur geteekenden en gekleurd, eerste (twaalfde) aflevering. ‘s Gravenhage, bij Gebroerders van Lier, boek-en kunsthandelaren, Korte Houtstraat, Wijk L., No. 26 1836. Panorama des provinces septentrionales des Pays-Bas, compose de vues pittoresques, representant les eglises, edifices, monumens, les rues et places publiques les plus remarquables des villes, ainsi que leurs environs Dessinees et colories d’apres Nature. Premiere (deuzieme) livraison. S’Gravenhage, The Hague, bij Gebroeders van Lier, Korte Houtstraat, 1836-[1838].

WALTER, Johann Ernest Christian. Prospecter af Donermarken eller Kobenhavn og Omegn. First part. [together with]: Prospector af Kiobenhavn og FrederiksbertHaveller Kiobenhavn og Omegn. Second part. Copenhagen, Privately printed for the author, 1826.

Oblong 8vo, II, pp. 1-18, 23-40, title pages in Dutch and French, as is text, published in 12 parts, 24 double-page handcoloured lithographed plates, showing the facades of wellknown streets in The Hague (20) and Rotterdam (4), contemporary cloth-backed marbled paper boards. Landwehr 386.

Plates show Rotterdam, Beursbrug, Beursplein, WestNieuwland, Korte Draaisteeg, Geldersche Kade. The intention was for these images to be joined together to form a panoramic view:The Hague, KorteVoorhout,Tournooiveld, Lange, Vijverberg, Plaats, Paardenmarket, Prinsessegracht, Houtweg, Kreuterdijk, Rotterdam, Beursbrug, WestNieuwland, Korte Draaisteeg, Geldersche Kade.

1022

2 volumes in one, 4to, part I with engraved title and 9 handcoloured engraved plates; part II with engraved title and 6 handcoloured engraved plates, modern green morocco gilt by Rignor, Birkedal Krogh. Not in Abbey. 1022

WESTHREENE, Tobias van Delft, in eenige afbeeldingen der schoonste Monumenten […] Hoofdgebowen en Gezigten in en nabij de Stad. Naar de natuur geteekend door C. Bos, op steen gebragt door G.J. Bos en met tinten gedrukt door P.W.M. Trap. met daarbij gewoegden texst Door T.Van Westhreene. Delft, J.J.Van Gessel, n.d. [1858-1860]. First edition. 4to, III, 1l., 60pp text, xv leaves, 15 tinted lithographed plates by G.J. Bos printed by P.W.M. Trap of Leyden, original blind stamped red cloth gilt. From the library of Bernard de Saxe-Weimar with his book label. Landwehr 478.

The work contains mainly architectural views drawn and lithographed by brothers Christiaan, Gerardus and Johannes Bos. The text describes the buildings and institutions depicted, giving historical backgrounds and details of their former and current use. The views include the various churches, the East Port, the academy building, a clock shop, Prinsenhof and the tomb of Willem I.

1023

CENTRAL & SOUTHERN EUROPE

INCLUDING AUSTRIA, THE AUSTRO-HUNGARIAN EMPIRE & DALMATIA,

SWITZERLAND, GERMANY, ITALY & SPAIN

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1024

ALT, J[akob]. Panorama von Wien. Van dem Standpunct der St. Peterskirche genommen [cover title]. [Vienna], 1825-1829.

ANTOINE, Franz, Jr. Der Wintergarten in der kaiserlichen koeniglichen Hofburg zu Wien. Vienna, 1852.

Folio, panorama of 4 handcoloured lithographed panels mounted on original folded brown paper accordion folder, small section titles mounted beneath each of the four panels, “Ost”, “West”, “Nord” and “Süd”; first panel dated “1829” and fourth panel dated “1825.” Letterpress label to front leaf. Housed in modern quarter black morocco and cloth drop-spine box. Not in Abbey.Benezit (2006) I, p.357; Thieme Becker I, p.339.

Oblong folio, title blocked in gilt, dedication to Grand Duke Maximilian Joseph of Austria, (11pp. text), 12 handcoloured lithographed plates, each with a tissue naming the trees, plants and shrubs depicted. Purple moire endpapers, modern morocco backed cloth box. BM(NH) I, p.53; Nissen BB1 44.

The four panels form a continuous rooftop view of the whole city.

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The work is dedicated to Grand Duke Maximilian Joseph of Austria.The author was Court Gardener and the 11 pages of text, composed by Antoine, give a list of the plants, bulbs, shrubs and trees in the gardens and indicate from which area of the world they came. This included a magnolia grandiflora, hyacinths, oaks, pines, rhododendrons, roses and wisteria, among many others. The views of the very large conservatory are impressive.

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ARTER, Paul Julius. Sammlung Zuercherâ&#x20AC;&#x2122;scher Alterthuemer nach Ueberresten Baukunst und Frescomalerei gezeichnet und herausgegeben. Zuerich, Heinrich Fuessli, 1837.

BERNUCCA, Francesco, publisher. F. LOSE, artist. Viaggio Pittorico e Storico ai Tre Laghi Maggiore, di Lugano, e Como. Milano, Presso Francesco Bernucca, 1818.

Folio, 66 handcoloured aquatint plates, folding map of Zuerich, original upper wrapper bound in acting as title, bound into half dark green morocco gilt over marbled boards. Not in Abbey.

Oblong 4to, 46 colour aquatint plates. Contemporary calfbacked boards, label to spine. Not in Abbey.

1027

Arter produced studies of the churches in Zuerich in this collection of the antiquities of Zurich. The frescoes and interior decorations displayed in this work, appealed to the growing tourist market at this time; it seems likely that the work was also used, to an extent, as a guide book.

BOILLY, Jul. Collection de Costumes Italiens, dessines dâ&#x20AC;&#x2122;apres nature en 1827. Paris, Daudet, 1829. Quarto, title and 48 colour lithograph plates by Engelmann. Contemporary half green hard-grained morocco, raised bands on spine with gilt filets and fleurons by Bruyere. Colas 365; Hilaire, p.99; Lipperheide 1278; Vinet 2289.

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Abbey Travel 164; Colas 2970; Lipperheide 1258; Abbey Travel

BOURCARD, Francesco de. Usi e Costumi di Napoli e Contorni Descritti e Dipinti. Napoli, Stabilimento Tipografico de Gaetano Nobile, 1853-1858.

164; Tooley (1954), 354; Brunet (under Godby, engraver).

2 volumes. Tall octavo, 100 (50 in each volume) colour lithograph plates, each volume signed in ink by Bourcard on verso of title. Contemporary half green calf over marbled boards, gilt, red calf labels to spine. Colas 411; Lipperheide 1304; Vinet 2308.

1029

BUONAIUTI, B. Serafino [and] P. VAN LERBERGI (artist) and GODBY, James. Italian Scenery; Representing the Manners, Customs, and Amusements of the Different States of Italy[...] London, Edward Orme, 1806. First edition. Small folio, title, (1), Preface (1), text pp.1-74; Index (1), 32 handcoloured line and stipple engravings, plates (nos. 132), engraved by James Godby after drawings by Van Lerberghi (1 p.), engraved music to a Neapolitan dance, a musical arrangement for the Tarentella, each plate bears the address of the editor and the date of publication, text by M. Buonaiuti, contemporary straight grained olive morocco, wide gilt and blindstamped borders sometime rebacked in style, inner gilt dentelles. From the Bosanquet and later Rosebery libraries.

A later edition was produced by M’Lean in 1823.The work was originally issued in boards with an oval pictorial label. The January 1805 imprints on nos. 1 and 3 presumably show that a start was made with preparing the book at that date, but it does not seem to have been issued in parts.The late watermarks in the plates, compared with those in the text, may show the publishers’ habit of printing off more text than plates, printing and colouring the latter only as required. According to Colas, the title should be present in English and French, although it seems likely that this is rarely, if ever, the case, and it is not so in this copy, nor in the one Colas had examined. Plates Van Lerbergi del. [and] James [or Jas] Godby sculp. Published and sold Jany 1 1806 [or date as given] by Edward Orme, engraved music for the Neopolitan dance the tarantella included. The Preface offers a justification for the publication: “Italy has been an eminently distinguished part of the Globe from early times and whatever its future fate may be, it cannot fail to be an fascinating country not only from ancient reknown, but for its happy climate. A faithful delineation therefore of its scenery, exhibiting at the same time the manners, customs, habits, and amusements of the natives of its different states, we may presume, will prove acceptable to everyone of taste, and every admirer of that classic ground.” THE

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CHARTON, G[abriel]. Souvenirs Pittoresque des Glaciers de Chamouny, ornes de dix-huit dessins colories. Geneve, Sestie, n.d. [c.1820].

[CLOWES, (G).]. A PicturesqueTour by the New Road from Chiavenna over the Spluegen and along the Rhine [...] London, William Cole, 1826.

Oblong quarto, 18 handcoloured plates mounted on grey paper; each with page of descriptive text, tissues, publisherâ&#x20AC;&#x2122;s advertisement on front pastedown. Contemporary black morocco gilt, rebacked. Gabriel Charton was a well known 19th century Swiss artist who specialised in landscapes. Benezit 3, p.820.

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Quarto, 13 handcoloured lithographed plates by F. Calvert after Clowes. Original rose colour paper over boards, rebacked in new rose cloth. Abbey Travel 58; Tooley, 148.

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1033

DELKESKAMP, Friedrich Wilhelm. Malerisches Relief des klassischen Bodens der Schweiz. Frankfurt, Delkeskamp, [c.1830-35].

DURA, Gaetano. Napoli e Contorni; Album da litografie. [Naples], Gatti e Dura, n.d. [c. 1835].

Landscape folio, 9 handcoloured aquatint relief maps of the cantons of Switzerland, and 9 uncoloured, a double copy, text and captions in German and French, contemporary morocco backed green marbled boards.

First edition. 4to, lithographed title and 35 lithographed plates printed in colours and finished by hand, all within ornamental gilt borders, contemporary cloth backed boards. Hilmy p. 254; Colas 918; Lipperheide 1298.

Delkeskamp was famous for his relief maps of Switzerland and the Swiss Alps, which have been described as the first of their kind, and certainly the most skilled. Delkeskamp had started his working life in the Royal Porcelain Manufactory in Berlin (KPM) before turning his artistic talents to highly detailed map-making. He also made a tourist map of the Dutch rivers, a panorama of the Rhine & adjacent country and was related to the historical cartography of British Columbia. In the 19th century map making underwent a radical change, standardising procedures of land survey as well as of map drawing. This development, closely connected to the professionalising of cartographers and, in effect, politicising cartography, has been described also as the â&#x20AC;&#x153;normalisation of science-based world views.â&#x20AC;? A very talented mapmaker, Delkescamp completely lost his market in this process because his methods did not meet the new standards.

Plates show male and female costumes of Naples and its environs as well as the street types of Naples itself.

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FORESTIER, Alcide de. Alpes pittoresques. Description de la Suisse par Lullin de Chateauvieux, Zschokke, Meyer de Konnau etc. Paris, ed. Delloye, 1837-38.

G. (A.P.D.). Sketches of Portuguese Life, Manners, Costume and Character. London, Printed for Geo.B.Whittaker, 1826.

2 volumes, 4to, lvi + 208pp., 261pp., 21 maps, 66 plates steel engraved after Girard, de Rudder, and Chocarne, 21 costume plates heightened with gum arabic by Achille Deveria after Octavie Rossignon, E. Desmaisons et Elgger, three armorial plates and a lithographed panorama, contemporary half calf gilt. Hiler p. 322; not in Colas; Ernts Andres 841; Longchamp, Bibliographie generale des ouvrages suisses, 65.

Forestier’s engraved plates show views of Switzerland, Geneva, Fribourg, Lausanne, Vevey, Berne, Lucerne, Bale, Zurich, Lugano, each with a brief account descriptive of the manners and customs of each.

1035

FUMAGALLI, Paolo. Manuel Pittoresque des Etrangers a Milan. Milan, Pascal Artaria [1833].

8vo, half title, title, introduction 7pp, contents, l20 colour aquatint plates, texct 364pp. Later half red morocco and cloth by Zaehnsdorf. Abbey Travel 141; Tooley 453.

1037

GEISLER, Maria (publisher). Collection de vues des principaux palais, eglises, batimens publics, campagnes, & jardins tant de Vienne que les environs. [Title repeated in German.] Vienna, Maria Geisler, [c. 1810] Oblong 8vo, engraved title, 100 handcoloured aquatint plates, the two series of plates complete, after Johann Jaresch, captioned in French and German, bound in original publisher’s pale green paper boards, gilt border, green morocco spine, red morocco label, contemporary slipcase.

Large 8vo, 25 handcoloured aquatint plates, publisher’s catalogue at rear, original printed boards.

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EXOTIC AND THE BEAUTIFUL 195

1038

1040

GEISSLER, Christian Gottfried Heinrich. Leipziger Mebscenen, Leipzig, E. Steinader, 1804-05.

[GISCARD]. [Indispensable Accomplishments]. Delineations of the most Remarkable Costumes of the different Provinces of Spain, and also of the military uniforms, bull fights, national dances, etc. of the Spaniards. London, by Henry Stockes, 1823.

Small oblong 8vo, 12 handcoloured copperplate engravings, 4 in each of the 3 parts, oval format. Modern quarter calf over marbled boards, original green wrappers bound in. Not in Abbey.

1039

[GEISSLER, Christian Gottfried Heinrich; A. MENZEL]. Leipziger Volksscenen. Berlin,Verlag von Gebrueder Gropius im Diorama, [c. 1830]. Small 4to, 3 parts in one, 12 handcoloured aquatint plates (4 plates in each of three parts), these in oval format, bound in modern quarter calf over marbled boards, original green printed wrappers bound in. Colas 1209 (giving the date as c. 1830).

These plates represent scenes of the Fair at Leipzig with numerous personages dressed in the style of the time, each plate headed Leipziger Volksscenen and at foot Lith. Anst. V. Winckelmann & Soehne in Berlin, with captions in German. Earlier plates by Geissler and those at the end of the work by A. Menzel.

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4to, title, 40 unnumbered, handcoloured lithographed plates by Giscard (this including frontispiece), half maroon calf over marbled boards. Lipperheide 1216; Vinet 2226; Colas 1255; Hiler, p. 381.

Plates reproduced from watercolour sketches, most signed Giscard (Hiler).

1040

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1041

HENTZI, Rudolph (editor). Vues remarcables des montagnes de la Suisse dessinees et peintes d’apres nature. Amsterdam, J. Untema, 1785-[1787]. Folio, title within double gilt rule as is description of frontispiece, latter with engraved vignette by Joh. Stoerkin after Ad. Dunker, 41 magnificent copper engraved, colour printed plates, engraved by Janinet and Descourtis after Wolf, Rosenberg, and Fuesseli, each with coat of arms and dedicatory caption, frontispiece described below, letterpress title and one leaf of text with engraved headpiece, all unbound and uncut, ruled in black by Descory after Clemens, each plate with a different dedication in lower margin, the whole preserved in modern red cloth covered folder, upper cover gilt lettered. Landwehr 307; Cohen de Ricci 485 (recueil fort rare); HBS S6063; Brunet 25898.; Longchamp 3197; not in Perret.

One of the earliest and rarest alpine plate books with plates by Jean Francois Janinet and Charles Melchior Descourtis, masters of the new colour printing technique, the majority after the Swiss artist, Caspar Wold. Wagner of Bern started preparing the series in 1779, but on his death in 1782 only 24 plates were reportedly ready. These were sold to Nentzi in 1785, who commissioned another 18 plates from Descourtis to complete the series. The allegorical frontispiece was added under the direction of M.Vernet and the work sold at Paris, Chez Mr Graff, Magazin de Dentelles titled “Vues remarquables des montagnes de la Suisse”, text to headpiece ruled in red. Colour printing was in its infancy at this date and was sometimes criticised for its overbrilliance and lack of subtlety. Brunet commended the work as “Bel ouvrage”, adding that the text was by Alb. De Haller and Wytenbach. Henzi produced a second work on the Swiss mountains published in The Hague, 1808-1809. A scarce work one copy only has appeared in Anglo-American auction records for the past 25 years.

1041

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1044

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1043

HERING, George E. The Mountains and the Lakes, Sketches of Switzerland, the Tyrol and Italy. With descriptive letterpress London: M.A. Natalli. [London, Ackermann & Co., 1845].

HORN, Wilhelm. Maehrens ausgezeichnete Volkstrachten. In 30 coloriten Blaettern gezeichnet und lithographirt von [...] Horn. Brunn, Congreve-Druck von R. Rohrer, 1837.

Folio, unpaginated, title, list of plates 1p., 20 coloured lithographed plates (including frontispiece and dedication), engraved title with vignette of Pass Gerlos,Tyrol and imprint London published by Messrs Ackermann & Co. […] and Mr G.E. Hering, dedication with vignette sketch of Lake of Orta, one of the plates showing the Jungfrau, each plate with the exception of the dedication marked B.E.H. Dell, and each with one page accompanying text, including a leaf of text to accompany the frontispiece and dedication, loose as issued in quarter blue calf gilt over blue cloth. Tooley 260; Perret 2222.

Folio, 30 handcoloured lithographed plates, original marbled roan-backed marbled boards. Not in Colas, Hiler or Lipperheide.

Perret describes this work as “rare et recherché”.A beautiful album of romantic lithographed views of the Tyrolean Alps, including a view of the Jungfrau. Tooley described the reprint of 1847 when the work was re-edited by M.A.Nattali.

Handcoloured lithographed costume plates of the different regions of Austria. 1044

JENNY, Heinrich. Historischer Zug. Festalbum der Feier des Eintritts Berns in den Schweizerbund, 6 März 1353. Bearbeit von Doct. (Ludwig) Stantz geschrieben von Heinrich Jenny. Bern, Kummerly und Wittmer, 1855. Folio, 44 (or 30) coloured lithographed plates by Panner, Bern, lith. Kuemmerly u. Wittmer, contemporary binding.

This work not in Colas or Hiler, although Hiler lists a similar work by Jenny of 1864, depicting a procession at Winterthur, near Zürich, in memory of a similar procession in 1264. This work published in Winterthur by J. W. Randegger. These particular celebrations were to mark the 500th anniversary of Bern’s entry into the Swiss Bund (Confederation) on 6 March, 1353. Each group carried its own standard, apparently representing the various guilds. A most attractive and colourful set of commemorative plates. THE

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1046

KAISER, Joseph Franz. Lithographirte Ansichten der Steyermarkischen Staedte, Maerkte und Schloesser […] Graz, 1825-1835.

KAPPELLER, Josef Anton. Tiroler Trachten nach den Zeichnungen des Malers Josef Anton Kappeller gestochen und illuminirt von J.Warnberger. Vienna in dem Industrie Comptoir, c. 1800.

128 coloured and mounted lithographs stored loosely in 2 contemporary red morocco boxes. Assembled for Prince Erwin don der Leyen. Arco & Flotow Auktion 4 (Reisewerke aus einer dt.Fürstenbibliotek, 6 V.1994), lot 445. Nebehay/Wagner 286; Thieme/B.XXII 145.

4to, 24 handcoloured engraved plates, captioned in German and French, signed I.A.K. del. – S.W. Sculpsit, contemporary green calf gilt with thin steel strips enclosing panel of mother-of-pearl. Colas 1589; Lipperheide 888 (for 17 plates only).

Selection from the so-called “Kaiser Suite” of prints with exceptional colouring.

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The plates were reproduced by Laminit. A French edition was produced in the same format without date [c.1800], the 24 plates reproduced from the German edition above and captioned in French and German. This Colas 1590; Lipperheide 888, 889; Vinet 2173 cites 16 plates and attributes them to Zana.

1046

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1048

LINASSI, (lithographer) Ferdinando Primo e Maria Anna Carolina nel Litorale in Settembre 1844. Trieste, Lloyd, 1845.

LISCH, Georg Christian Friedrich. Meklenberg in Bildern redigirt und mit erlaeuterndem Texte. Rostock, Lithographie, Druck und Verlag, J.G.Tiedemann, 1842-45.

Folio, v, pp.58, lithographed frontispiece with an oval image of the Austrian Imperial visitors to Trieste, heightened with silver, 16 handcoloured lithographed plates heightened with gum arabic, each within decorative border, two maps. Bound in red velvet over boards, cast brass decorations in corners, crown and monograms, “F” and “M” mounted on front board, crown and coat of arms on rear board. Nebehay Wagner 937.

The work was in honour of the state visit of Ferdinand I and Caroline to the area in September 1844. The plates, lithographed by Linassi, depict Ferdinand and Carolina at various points in the visit. Rare to find this splendid work complete as here.

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First and only edition. 8vo, 4 volumes, each volume with lithographed title, volume I with 68pp. text, other three volumes each with 64pp. text, text by Lisch, total of 96 lithographed plates divided between the volumes, of which 16 coloured, original cloth. Hiler 547; Colas 1881; Lipperheide 797.

The coloured plates, split four to each volume show Mecklenburg costumes, while the uncoloured plates show the architecture of the city. Lisch was court archivist to the Grand Duke of Mecklenburg. He was instrumental in the foundation of a very costly library for the Grand Duchy, and was also involved in publishing a history of Rostock, placing this important area very firmly on the contemporary map of Europe, for which he was honoured by the Grand Duke. Among other works on Mecklenburg, Lisch also produced a study solely relating to its architecture.

1047 1049

1050

LORY, Gabriel, the Younger. Voyage pittoresque de Geneve a Milan par la route du Simplon. Paris, P. Didot l’aine, 1811.

LORY, Gabriel [and] L.G. MATHIAS.

First edition. Folio, 36 handcoloured engraved and aquatint plates, contemporary light brown panelled calf, gilt and blind, large paper copy, plates apparently mounted by the publisher. Brunet V1379; Bobins II, 486 (for the Italian edition); Perret 2694.

The work was re-edited in Milan by F. Artaria with 40 plates (see Bobins II, 486), and was translated into English “Picturesque tour from Geneva to Milan by way of the Simplon” (Ackermann, 1820), again with 36 handcoloured plates. Perret describes the work as “tres rare et tres recherché par les collectionneurs,” attributing its popularity to the quality of the illustrations.

Voyage pittoresque aux glaciers de Chamouni. Paris, P. Didot l’Aine, 1815.

First and apparently only edition of this work until reprinted in 1986 in Grenoble. Folio, half title, title, list of plates, 14pp., 7 aquatint plates printed in colours and finished by hand by Hegui after G. Lory Pere (2) or Fils (4), text by Raoul-Rochette, Paris, original pink boards. Longchamp 1859; Brunet V, 1378; Perret 2695.

One of the great rarities of mountaineering literature, a highly regarded set of plates which include Cascade/Nant d’Arpenay; Mont-Blanc from St Martin; Lac de Chede; the Glacier – surrounding woods and source de l’Arveyron; the Mer de Glace from Ontenvers; Mont Blanc from Du Couvercle; La Flegere. Some of the images were reissued later in a reduced form in Ostervald’s Voyage Pittoresque dans la Vallee de Chamouni et autour du Mont-Blanc with text by Raoul-Rochette (Paris, 1826;). Perret praises the work for “magnifiques vues de la vallee de Chamonix et du Mont-Blanc.” He adds that this work is much sought after by collectors for the quality of the illustrations. THE

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LORY, Gabriel [and] F.W. MORITZ. Costumes Suisses, dedie a son Altesse Royale le Prince Royal de Prusse, dessines d’apres Nature et publies par G. Lory fils et F.W. Moritz, avec un texte explicatif. Neufchatel, de l’imprimerie de C.H. Wolfrath, 1824.

MECHEL, Chretien de. Recueil de vues choisies de la Suisse. Tant de villes que contrees pittoresques et lieux memorables de cet interessant pays. Gravees et coloriees a l’aquarelle d’apres des tableaux et desseins faits d’apres nature. Basle, edited by C. de Mechel, 1796.

4to, title, 55 ll. of text, dedication, unnumbered index of plates, 55 handcoloured aquatint plates, including additional coloured title, 17 of these plates by Lory; 3 by Moritz, contemporary half calf gilt. Hiler p. 553; Colas 1908; Lipperheide 909 (giving a date of c. 1830).

Text by Professor Monvert. Some of these plates are reproduced in J.B.B. Eyries’s La Suisse (Hiler 300).

Small oblong folio, 33 handcoloured engraved plates, green morocco gilt. Not in Perret, who lists Mechel’s Itineraire du St-Gothard, described by Perret as rare, as must be this work.

Mechel (1737-1817) was an important Swiss (Basle) engraver and draughtsman, as were his father and grandfather. He specialised in views and historical subjects. He had collaborated with colleagues in campaigning to make Holbein’s Totentanz known to a wider public. He is particularly well known in France for having produced aquatints representing the ascent of Mont Blanc by de Saussure in 1787.

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1056

MEYER, F., [LEUTHOLD, H.F., illustrator]. Costumes Suisses en mignature. Dessines d’apres nature avec texte explicatif. Zurich, F. Meyer, publies par H.F. Leuthold, editeur, 1836.

MOLLO, Tranquillo (publisher). Wien’s vorzueglichste Gebaeude und Monumente. Vienna,Tranquillo Mollo [c. 1825].

Small 8vo, title vignette (unnumbered), coloured frontispiece and 23 handcoloured lithographed plates by Leuthold, 144pp., an unnumbered leaf (the handcoloured title), the plate chart numbers 24 plates, including presumably the frontispiece, contemporary half calf over boards. Colas 2049; Hiler p. 586; Vinet 2182.

In his footnote Colas states that this work also has another title: “Collection de costumes suisses originaux dessines par F. Mayer accompagnes d’un texte explicatif. Patria nihil dulcius, nihil carius in vita esse debet. Cic.A Zurich Chez H.F. Leuthold, editeur, 1835”, also in small octavo format. Colas mentions in this description: “Cet ouvrage existe egalement a la date de 1836.”This would indicate that this edition dated 1836 is an identical edition to that of 1835, only the title differing. Colas remarks on the fineness of the colouring.

1054

[MEYER, Johann Jakob – publisher]; EBEL, J[ohann] G[ottfried]. Die Bergstrassen durch den Canton Graubünden nach dem Langen und Comer See. Begleiet mit einer Einleitung u. mit Erklärungen. J.J. Meyer, Zürich 1826.

Oblong 4to, 64 handcoloured etched plates mounted on grey/blue card within ruled borders, labels on mounts bearing titles and imprints. [together with]:Wien’s Umgebungen. Nach der Natur gezeichnet und gestochen von Joseph und Eduard Gurk. Vienna, Tranquillo Mollo [c. 1827]. Oblong 4to, 64 handcoloured aquatint plates on grey-blue card with ruled borders, labels on mounts bearing titles in German and French, and imprints and names of locations, by or after E. Gurk, J. Lutz, S. von Perger and others, loose as issued in two contemporary uniform gilt roan boxes, titled in gilt on spines, fore-edge clasps, blue silk linings. From the Rudolph Ritter von Gutmann collection (1880-1966). Nebehay and Wagner (Graz 1981-1984), 428-429.

This second work was not in the earlier volumes of this catalogue, although the first work (above) showing images of the important buildings in the centre of Vienna appears as item 442 in volume II. The coloured views show the most beautiful landscapes and sights aroundVienna, at the time of Beethoven and Schubert including Schoenbrunn and its park; the Schwarzenberg Gardens in Neuwaldegg; Klosterneuburg und Greifenstein. A facsimile was made of this fine work in 1988, with an introduction by Robert Wagner.

1057

First edition, deluxe issue. Oblong 4to., engraved title with large hand-coloured oval vignette, 1 hand-coloured map, 32 handcoloured aquatint views, Donaueschingen library stamp on title page, contemporary red morocco, gilt borders, a fine clean copy. Lonchamp 892 u. 897; Wäber I, 332.

1055

MEYER, LUTKE & FRITZ. Album von Berlin und Potsdam in zweiunddreissig Original-Ansichten. Berlin, E. Schroeder, n.d. [c. 1840].

MOTZ, Jean Michel. Sammlung Augspurgischer Kleider-Trachten Augsburg … n.p., n.d. [18th century]. First edition. Small 8vo, handcoloured engraved title, 30 handcoloured plates, loose as issued, in half green card wallet in modern box. Not in Colas; Lipperheide; Hiler; copy in Donaueschingen Library Catalogue.

An extremely scarce and attractive set of costume plates.

1058

First (original) edition. Oblong folio, title, 32 lithographed plates, printed in colour and finished by hand, images within borders, each with caption beneath, publisher’s red blindstamped cloth gilt, lettered in gilt on upper cover. Engelmann I, 344; Kiewitz 791.

These magnificent lithographed and gouached plates include 24 views of Berlin, for instance the Brandenburger Gate; the Royal Castle, Unter den Linden and the University; and 8 views of Potsdam including the Nicolai Church, Frederick the Great’s Palace of Sanssouci and the Charlottenhof.

NUMA - [BASSAGET, Pierre]. La Guirlande d’eloix de danses a caractere de tous les pays. Lithographies par Regnier et Bettanier. Paris, H. Gache, [c. 1840]. Folio, 6 handcoloured lithographed plates by Regnier and Bettanier, after Bassaget, who always signed as Numa, original cream coloured printed boards Not in Colas, Hiler or Lipperheide.

Although other works by Numa are principally related to fancy dress costume and European women’s costume, these have an additional dimension, showing as they do the traditional dances of a variety of nationalities, and the costumes of the women participating. These include the Fandango and the Tarantella. THE

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1059

PETTER, Franz. Das Kรถnigreich Dalmatien. Vienna, H.F. Mueller, 1841. Four parts in one volume, 4to, pp. 42, 36, 35, 44, 20 chromolithographed plates, 4 maps, divided as below, a contents list and subscribers list at the end of the work, contemporary red morocco gilt borders, spine flat and gilt. Thieme Becker I, pp. 338-346.

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The geography, history, economics, religion and language of the four regions of Dalmatia. Plates after original paintings by Jacob and Rudolf Alt, Austrian painters, father and son, living in Vienna. The Four Sections comprise: Part I: Kreis Zara, 42pp., review of the area 1pp., map, and five chromolithographed plates from original drawings by Jacob and Rudolph Alt; Part II: Kreis Spalatro, 36pp. text, report, topographical map and 5 chromolithographed plates; Part III: Kreis Ragusa, 35pp. text, map, 5 chromolithographed plates; Part IV: Kreis Gattaro, 37pp., map and 5 chromolithographed plates.

1060

PEZOLT, Georg. Album vom Salzburger Alpenlande. Wildbad Gastein, J. Schoen in Salzburg Commission bei H. Abel [c. 1850]. First and only edition. Oblong 8vo, chromolithographed title, 30 handcoloured lithographed views, each with green tissue guard, contemporary brown lacquered cloth, stamped in gilt.

Extremely rare. Not in the usual bibliographies including Perret; only COPAC comes close with an undated folio “Album vom Salzburger Alpenlande nach der. Natur Gez. Von Pezolt lithographed v. Leop. Rottmann. Plates in this work show Alpine Scenery in the surrounds of Salzburg, including Wildbad Gastein und Berchtesgarten signed “Gez. V.G. Pezolt, Stahlstich u. Durch v. Serz & Sie in Nurnberg,” Serz & Cie founded in 1848. Plates described as “Tonlithographs”.

1061

PINELLI, Bartolomeo. Raccolta di quindici costumi li piu interessanti della Svizzera Disegnati, ed incisi all’ aquaforte da Bartolomeo Pinelli Romano. Rome, Presso Luigi Fabri,Via di Copo le Case [1813]. Quarto, engraved title, 15 handcoloured engraved costume plates by Bartolomeo Pinello Romana, contemporary half calf gilt. Lipperheide 905; Vinet 2185 dates this set of plates as 1825; Colas 2374. Hiler, p. 712.

“A rare collection of plates, showing traditional Swiss costumes male and female, of the various cantons making up Switzerland, all engraved by Pinelli after his own drawings” (Hiler).

1062 1061

PINELLI, Bartolomeo. Events in the Life of Massaroni, an Italian Bandit. London, Colnaghi & Co., 1823. Oblong quarto, Italian title with portrait vignette, English title, 10 handcoloured aquatint plates. Green calf-backed contemporary drab boards.

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1064

PÜCKLER-MUSKAU, Fürst Hermann Ludwig Heinrich von. Andeutungen über Landschaftsgärtnerei verbunden mit der Beschreibung ihrer praktischen Anwendung in Muskau. Stuttgart, Hallberger, 1834.

QUADRI, Antonio. La Piazza di San Marco in Venezia [TOGETHER WITH] Il Canale Grande di Venezia. [Venice, 1831].

Oblong folio, 1 leaf printed title, 45 colour lithographs, & 4 folding plans. Original green boards in contemporary portfolio cover, blind-stamped b Not in Abbey.lack morocco and dark green cloth. [together with]: text volume of same title: Stuttgart, 1834. 8vo, dark green blind-stamped cloth.

Very rare book in the literature of Romantic landscape gardening with illustrations of the grounds at the estate of the author at Muskau in Saxony.

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Two volumes in one, small oblong folio; La Piazza: title, 33pp. text, list of plates, engraved plan, 15 handcoloured plates by Moretti; Il Canale: title, 12pp. text, 47 handcoloured plates by Moretti; modern quarter rust morocco over marbled boards, spine gilt. Graesse V, p. 518; Cicogna II, 4560-4561.

The plates were engraved by Dionisio Moretti and described by Quadri.The plates of this attractive series together form three almost continuous panoramas of St Mark’s Square and both sides of the Grand Canal, with the buildings and occasionally owners identified beneath. This would appear to be the Feltinelli copy from the sale of December 1977.

1065

[RODRIGUEZ, A.]. Colleccion General de los Trages que en la actualidad se usan en Espana: principiade en al ano 1801. Madrid, n.d. [c.1801]. First edition, first issue. Small 8vo, engraved title, 112 handcoloured engraved plates by I. Albuerne, F. Marti, Rodriguez and J.Vasquez after Rodriguez, 14 parts each with 8 plates, but without the 4 supplementary plates mentioned in Colas. Contemporary full marbled calf, gilt. Colas II, 2566 (116 plates); Lipperheide 1212; Palau 56519; Rahir 617; Vinet 2223 (Fashions of Madrid, 1804, and costumes of the different Provinces of Spain); Hilmy p. 755.

The plates in this work show the different costumes of the various provinces of Spain, during the time of the Napoleonic wars. 1065

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1066

1067

RONCHI, L. Souvenirs de Milan ou collection des principales vues de cette ville et de ses environs. Milan, Chez Ronchi, [c. 1835].

ROSENMĂ&#x153;LLER, Johann Christian. Die Merkwuerdigkeiten der Gegend um Moggendorf. Berlin, Johann Friedrich Unger, 1804.

Oblong 8vo, 30 handcoloured aquatint plates, 19th century dark green cloth lettered in gilt. Not in Fumagalli.

Small folio, title, pp. 1-8 preliminaries, pp. 9-90 text, 1-6 handcoloured copper engraved plates, modern half straight gained morocco over marbled boards, original wrappers bound in.

The author was a remarkable professor of anatomy and surgery teaching and practising at Leipzig University, who was also very interested in mineralogy.The caves described in the book were on the road to Erlangen where he had studied medicine.

1067

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1068

1069

ROST, C.E. [publisher]. Trachten der Berg-und Huettenleute im Koenigsreiche Sachsen; Nach der neuesten Reglement; mit Landschafft. Umgebungen aus d. verschiedenen Bergamtsrevieren im Kupfer gestochen u. treu coloriert. Freiberg, Rost, [c. 1830].

RUSSELL, George. A Tour through Sicily in the Year 1815. Illustrated by a map and eighteen interesting plans and views. London, Sherwood, Neely & Jones, 1819.

Folio, engraved title, introduction and list of plates, 30 copperengraved handcoloured and gouached plates by Hennersdorf after drawings by Wunderlich, in contemporary velvet presentation box with gilt arms of the Dukes of Saxony on front and rear, this copy from the Hofbibliothek zu Donaueschingen. Not in Abbey, Colas, Hiler; Lipperheide Pd12.

A scarce and magnificent set of costume plates depicting the traditional dress of the mining community, steel and metal workers of Freiberg in the Saxony region against backgrounds of the local scenery. Not only are the uniforms well depicted but the tools and the workshops complete the background. All the plates are captioned, but on occasion a specific mine is mentioned.

First edition. 8vo, folding frontispiece map, x, 289pp., 16 handcoloured aquatint plates and maps, including 10 handcoloured, contemporary half calf gilt. Abbey Travel 261.

Beautiful and romantic engravings by J. Clark on fine paper, reproducing landscapes and monuments of the beauties of Sicily, the islands of the Cyclides, Stromboli, Mount Etna, views of Taormina and Syracuse. A work produced at a time when Sicily and Italy were much visited on the European Grand Tour, and when young and noble Grand Tourers either stayed behind or returned to Sicily to take up posts educating the Royal children. Sicily was also renowned for it fine and well stocked library at this date.

1068

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1070

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1070

SANQUIRICO, Alessandro [the Elder]. Raccolta di varie Decorazioni sceniche Inventate, ed eseguile da Allessandro Sanquirico per l’I.R.Teatro alla Scala. [Milan,Vassalli, n.d., [c. 1820s]. 2 parts in one volume, oblong folio, title page and 62 handcoloured aquatint plates, depicting elaborate sets designed and executed for operas and ballets performed on the stage of the famous Italian theatre, La Scala, several of these prints were engraved by Angelo Biasioli after Alessandro Sanquirico. Bound in contemporary red Milanese morocco gilt, covers panelled to a neo-classical design. Hiler 776 lists Sanquirico only for his illustrated work showing Ferdinand in the regalia of King of Lombardy at his coronation in 1838. Colas lists him in connection with the same work. Benezit, E. Dictionnaire critique et documentaire des Peintres, Sculpteurs, etc., lists Biasioli who engraved these plates.

Biasioli worked in Milan engraving numerous prints after Castellini and Bosio. Many of the plates in this work were engraved after paintings by Alessandro Sanquirico, who served as La Scala’s principal stage designer from 1817 to 1832, and is known for his inventive use of perspective on painted backdrops, and innovative special effects of lighting and mechanical devices. In 1818 Sanquirico set out to publish all the theatre decorations he had executed. The inked and coloured series of etchings was completed in 1829. Sanquirico is considered the best stage designer of his time. From 1817 to 1832 he was “scenografico unico” at the Milano “Scala”, where he was much admired.

THE

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1071

[SARCONI, Michele]. Istoria de fenomeni del tremoto avvenuto nell Calabrie, e nel Valdemone nellâ&#x20AC;&#x2122;anno 1783. Naples, Giuseppe Campo, 1784. Oblong folio, 2 volumes in one, vignette title to text in red and black, 70 handcoloured aquatinted plates on 68 leaves, by Antonio Zaballi, after architect Pompeo Schientorelli, plus map of Calabria also by Schientorelli, orienteering plate of S. Lucino with key, handcoloured, within grey washed border, image ruled in black, contemporary calf backed boards, modern pink paper over boards. Copy in two volumes, item 1645 in the Fumagalli sale catalogue, otherwise not in usual bibliographies .

Some of the plates showing the volcano whilst still active have figures in the foreground, one such in a red coat, reminiscent of Sir William Hamiltonâ&#x20AC;&#x2122;s Campa Phlegrei; one large folding plate depicting a telescope. There is also an orienteering plate of S. Lucino with a key, handcoloured within grey washed border, the image ruled in black. Calabria and Sicily, because of proximity to Etna, Vesuvius and Stromboli, have had a sad history of severe earthquakes. The Calabrian earthquake of 1783 was the strongest in Italy in the previous two centuries, marked with various tremors lasting over a period of some three years.

1071

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1072

[STAATS-EISENBAHN - Laibach bis Trieste]. Zur Erinnerung an die Eroeffnung der Staats-Eisenbahn von Laibach bis Triest unter der Allerhoechsten Auspicien Seiner K.K. Apost. Maejestat der Kaiser Franz Josef I. am 27 Juli 1857. [Vienna, K.K. Hof-und Staatsdruckerei], 1857. Folio, title, 10pp. text, 14 coloured lithographed plates after Novopacky, Gottf. Seelos and J. Varoni, two folding charts, original maroon cloth embossed and gilt.

The Austrian Southern Railway (Österreichische Südbahn) was an Austrian railway company established in 1841. It was the main railway company in the Austrian Empire (later Austria-Hungary), operating train services between Vienna and Trieste until 1923.Today the term Südbahn is still used to refer to the railway lines which were formerly operated by it from Vienna via Bruck an der Mur, Klagenfurt and Villach to Italy (Tarviso).

1073

SUHR, Christoph. Hamburgische Trachten gezeichnet und gestochen von C. Suhr, Professor der Koeniglichen Akademie der Künste in Berlin. [Hamburg], 1822. Folio, title and text in German and French, 36 handcoloured plates, (35 aquatinted, one lithographed), contemporary green boards cornered in dark green morocco, retaining original title label. Colas 2831 and 2832 (1810 and 1812 editions); Vinet 2161.

Suhr was a Professor of the Academy Royal in Berlin. Colas remarks of this edition that it was a “beautiful and very rare set of plates”.These include all the occupations and activities of the people of Hamburg, ending with a sleigh ride on the river Elbe.

1074

Costumes Suisses. SUTER, J.

Paris, Berlin, London, New York, Goupil et Cie, n.d. [c.1840]. Folio, , original front wrapper/title inlaid on leaf, 24 colour lithograph plates. Half green calf over green cloth. Colas 2839.

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1076

[VENICE]. Assedio di Venezia nel 1849. Venezia, Presso l’Editione P.Ripamonti Carpano, n.d.

WALTON, Elijah; T[homas]; G[eorge] BONNEY. The Bernese Oberland:Twelve Scenes among its Peaks and Lakes. With descriptive text by T.G. Bonney. London, W.M.Thompson, 1874.

Oblong folio, pictorial title, plan and 9 colour lithograph plates. Contemporary printed boards; former collection’s number label on upper cover. Not in Abbey.

First subscriber’s edition. Folio, iv, [i], [48]pp., 12 chromolithographed plates after Walton, mounted on thick paper, each with descriptive text and protective blank (one detached), preliminary pages spotted, several plates with very minor spotting, library plates, presentation label, “withdrawn stamp” on front paste-down, all edges gilt, rebacked in modern burgundy morocco preserving the original purple gilt decorated cloth boards, spine gilt lettered and decorated. Neate W09; Perret 4516.

Elizah Walton was “noted for his truthful rendering of rock structure and mountain form” (Neate). He was commissioned by the Alpine Club in the 1860s to make paintings of the Alps and his work was later exhibited at the British Museum. “In some of these alpine watercolours there is a sharpness of outline delineating mountain peaks combined with a brilliancy of colour which has great vitality and freshness” (DNB). Walton illustrated seven books with his friend the well-known geologist the Rev.T.G. Bonney (1823-1923). 1076

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1078

1077

1078

WEIBEL, Jakob Samuel. Voyage pittoresque dans lâ&#x20AC;&#x2122;Oberland Bernois en 20 vues. Bern, Bourgdorfer, 1807-1816.

WETZEL, J[ohann] J[akob]. Voyage pittoresque aux Lacs deThoune, Brienz, Lungern et Sarnen. Zurich, Chez Orell, Fussli et Compagnie, 1827.

Oblong 4to, engraved title with oval vignette, title and text in French and German, 36 handcoloured plates, 35 in aquatint, one lithographed, contemporary burgundy morocco. See Perret 4534, for other editions of Weibelâ&#x20AC;&#x2122;s rare and beautiful views of the Bernese Oberland.

This work appears to pre-date the work which Weibel produced in conjunction with Phillipe Albert Stapfer, published in Paris and Strasbourg in 1812, with views of the Bernese Oberland. Perret appears not to have noted this work or edition (See BobinsVol.II 501).This present edition has additional views of the area.

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Folio, title, list of plates, text, 12 handcoloured aquatint plates engraved by F. Hegi. Original boards, letterpress label to front board; plates loose as issued. Not in Abbey.

1079

WETZEL, Johann Jakob. Voyage pittoresque au Lac de Constance. Zurich, Chez Orell Fussli et Comp., 1830. Folio, 15 handcoloured aquatint plates engraved by F. Hegi, quarter green calf and green cloth portfolio folder. Not in Abbey or Perret.

Wetzel was numbered amongst the most important and masterly 18th and early 19th century Zurich vedutists. His pleasing representations of landscapes are characteristic for the wide views they offer and the intensity of the engravings.

1079

1080

1081

WITTICH, L.W. Nationaltrachten und Theaterkostueme. Berlin, L.W. Wittich, 1821.

WOLF, [Caspar].

Merkwürdige Prospekte aus den SchweizerGebürgen und derselben Beschreibung. Bern, 1776.

Tall 8vo, 63 (of 64) engraved costume plates by Wittich after Stuermer, all handcoloured, contemporary black morocco backed and edged boards. From the Hofbibliothek zu Donaueschingen. Colas lists several of Wittich’s costume works, including Sammlung von National-Trachten under 2637.

This volume of various handcoloured plates includes a scarce suite of costume plates, displaying figures from the comedia dell’arte. The collection also shows a series of attractively fanciful costumes worn by those frequenting the garden, or working in the gardens. Wittich designed stage costumes for the theatre in Berlin, as well as fancy dress ball costumes, then much in vogue.

Tall 8vo, 11 plates of which 10 are handcoloured aquatints, one engraved diagram, later full navy blue morocco. Not in Perret

Karl Gottlieb Küttner spoke of the skilful awe-inspiring beauties of Swiss scenery as depicted by Wolf: “Skilled, terrifying, shocking were the main epithets applied in the aesthetic, art historical writing of the late 18th century.” Wolf’s work also had a scientific function, revealing accurately the formation of the mountains and the patterns of erosion, closely related to climate conditions.

1082

ZABERN, Victor von (publisher). Der Rhein von Mainz bis Bonn in seinen schönsten Punkten. Mainz, Zabern, [c. 1840]. Small landscape folio, title, 21 handcoloured aquatint plates, mounted as issued on green card and bordered within double black ruled borders

One of the highly attractive albums of aquatints of the river which were published for the increasing number of tourists sailing up the Rhine at this time. A similar work, also published by Zabern (See Bobins Vol.II 473).

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1080

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THE MEDITERRANEAN, LEVANT, NEAR EAST & AFRICA

GREECE & TURKEY; THE CRIMEAN & CASPIAN REGIONS; ARABIAN PENINSULA; THE BALEARIC ISLANDS & MALTA INCLUDING

1083

ADDISON, Charles G. Damascus and Palmyra:A Journey to the East with a Sketch of the State and Prospects of Syria, under Ibrahim Pasha. London, Richard Bentley, 1838. First edition. 2 volumes, 8vo, xxvii, [1], 440pp.; x [2] 484, each volume with two additional leaves and errata leaf, 10 coloured lithographed costume plates after William Thackeray, original green pictorial cloth gilt. Blackmer 5; Atabey 9; Weber 268; Duzer, A Thackeray Library, 47; not in Abbey.

Addison travelled from April to October 1835 via Malta and Greece to Constantinople, returning via Beirut, Lebanon, Baalbek, Damascus and Palmyra. The British Library catalogue identifies the illustrations, which depict local costume, as being by William Thackeray, who also travelled in this area at the same time as the author. The plates were lithographed by G.E. Madeley. 1084

BERESFORD, George de la Poer. [Southern Albania]. Dedicated to the Lady Emily Cozziris. Twelve Sketches in Double-Tinted Lithography of Scenes in Southern Albania by Captain G. de L Poer Beresford, 16th Regiment. London, Day and Son, May 1st 1855. First and only edition. Large folio, title, verso blank, description of plates, 1 leaf, double column, verso blank,12 tinted lithographed plates in two tints. Bound in 19th century half morocco. Blackmer 124; Abbey Travel 46; Weber I, 1162; BL; GL.

“The plates include views of Ioannina,Aria and Parga and are very fine” (Blackmer). Beresford also produced two novels.

1085

BURR, Mrs A. Margaretta. Sketches. [London, c. 1850]. Folio, title on original wrappers, 1 leaf of text, 14 handcoloured lithographed plates, mounted on twelve cards as issued, with accompanying single leaf of letterpress listing and describing plates, loose in original half morocco and embossed cloth portfolio by Tarrent, lettered in gilt on upper cover, silk ties. Lipperheide 575; not in Abbey; Tooley; Colas or Hiler nor in Blackmer or Atabey.

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A very scarce work. Plates showing views and costumes of Cairo, Jerusalem, Constantinople, Athens, by the author, painter A. Margaretta Burr (née Scobell).The artist, listed in Benezit and in Saur, is described in the latter as a master draughtsman.

1083

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1086

CLIVE, Robert. Sketches between the Persian Gulf and the Black Sea. [London], Dickenson Bros., 1852. Folio, 26 handcoloured plates on 24 ll., contemporary half calf gilt. Not in Abbey; OCLC cites three copies: University Michigan, Trinity University, Victoria and Albert Museum.

This was the work of Lord Clive of Plessey (Clive of India). Clive was noted for his collection of Mughal art.The plates for this work were collected by Clive, although he had no hand in making the sketches himself.

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1087

DROUVILLE, Gaspard. Voyage en Perse pendant les annees 1812 et 1813, contenant des details peu connus su les moeurs et usages des Persans, ainsi que surleur etat militaire, tant ancien quâ&#x20AC;&#x2122;actuel, et generalement sur tout ce qui concerne les forces regulieres et irregulieres de cet empire. St Petersburg, imprime chez Pluchart, Paris, Firman Didot, 1819-21. First edition, small 4to atlas volume, plus two 4to text volumes bound as one, xxxvi introduction, 168pp., 2pp index and list of plates, half title, title, 223pp., index, 62 lithographed and engraved plates, including engraved portrait and map, all but two handcoloured, additional 10 variant lithographed plates, two of which are coloured, lithography by Orlowsky, possibly trial proofs arranged in both the text and atlas, contemporary quarter red calf (atlas), text half morocco. Brunet II, 833; Colas I, 899; Querard II, p. 385 (dating the work 1821); Wilson p. 62 (2).

1087

This one of only 200 copies, although Brunet suggests that this number was in fact 150. A second edition appeared in 1825. (See BobinsVol.I 187). Colas suggests that this edition is after Brunet, II, 839, the atlas including twenty engraved and 42 lithographed plates. He further states that he has seen an atlas which could well be the same edition as this one, but with a change of date. No copy of the first edition has been seen at auction for the last three decades. Colas was unable to examine a copy of the first edition and Lipperheide only lists the second edition, published in two octavo volumes in Paris in 1825 with 60 plates and a map. Brunet and Querard call for 20 engravings and 42 lithographed plates in the atlas, without calling for any plates in the text. This work is ranked with those of Chardin and Tavernier in the importance of Drouvilleâ&#x20AC;&#x2122;s description of Persia. Drouville was a French soldier of fortune, who had travelled to Persia in the service of the Czar. Brunet mentions that the work contains many more or less unknown details of the customs and habits of the Persians, as well as giving a report on their military, both historical and contemporary.

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1088

FONTANE, Marius [and] RIOU. Eduard. Voyage pittoresque a travers Lâ&#x20AC;&#x2122;Isthme de Suez par Marius Fontane vingt-cinq grandes aquerelles dâ&#x20AC;&#x2122;apres nature par riou lithographiees en couleur par Eugene Ciceri. Paris, Dupont, [c. 1870]. First and only edition. One of only 500 copies. Large folio, without portrait frontispiece of De Lesseps, often missing, but with lithographed map and 25 fine chromolithographed plates showing views by Eugene Ciceri after Riou; original red cloth binding, gilt. B.L.; Hilmy I, p. 235-6; Blackmer 611.

TheVice-Roy of Egypt, Ibrahim Pasha, was given 200 copies of the work which celebrated the opening of the Suez Canal, as agreed. However, he was not pleased with the publication and removed the portrait frontispiece of de Lesseps, the engineer in charge of the building of the Suez Canal, as well as the preface and the final six gatherings (including the last six plates) from his own personal copies. Our copy does not have the portrait of de Lesseps but does have the preface and last six gatherings (including the plates). Text and illustrations in the second part are by Edouard Riou, a watercolourist and draughtsman, specialising in genre scenes and landscapes. He was also a book illustrator supplying sketches for the works of Dumas, Maupassant and Hugo among others, as well as working for Le Monde Illustre and the Illustrated London News.

1088

1089

1090

GIRONI, Robustiano. Saggio di robustiano Gironi intorno alle costumanze civili dei Greci. Milan, dalla Tipografia del Dottore Giulo Ferrario, 1823.

HARNIER, Wilhelm. Wilhelm Harnier’s Reise am oberen Nil. Nach dessen hinterlassenenTagebuechern herausgeben von Adolph von Harnier. Mit einem Vorwort von Dr A. Petermann. Nebst einer Specialkarte und XXVII Originalzeichnungen Wilhelm von Harnier’s ausgefuehrt in Farbedruck von J.M. Bernatz. Darmstadt & Leipzig, Berlin, Eduard Zemin, Asher & Cie, 1866.

Large 4to, 2ll. (title, half title), 1 unnumbered leaf, 19 handcoloured aquatint plates engraved by Gallino, Fumagalli, Raineri, etc., green paper-covered boards, textured in imitation of morocco, decorative border in blind. Colas 1254; Hiler, p. 380; Lipperheide Bb4; OCLC cites one copy; also mentioned in Brunet.

Brunet mentions that Gironi was known for other works on Greece and Greek culture written between 1819-22.The first two of these were published privately and in small numbers.

Oblong 4to, chromolithographed additional title, one folding lithographic map with route marked by hand in red, 27 chromolithographed plates after von Harnier, one double page, by C. Heyn, W. Diez, P. Herwegen and others, printed by Schmidt of Munich, original cloth. Not in Blackmer, Abbey or Atabey.

The author’s sketches were prepared for publication by Johann Martin Bernatz (1802-1878) following von Harnier’s untimely death. Bernatz had earlier travelled in the area and produced a work after his own drawings showing scenes in Ethiopia published in 1852.

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HOMMAIRE DE HELL, Xavier. Les steppes de la mer Caspienne, le Caucase, la Crimee et la Russie Meridionale. Voyage pittoresque, historique et scientifique de France. Paris, Chez P. Bertrand, 1843-45. First edition. 3 volumes, tall 8vo, vii, 514pp., errata leaf; half title, title, 598pp; x, 507pp., errata leaf, large folio, 38 plates, including map, 24 tinted lithographs and 9 lithographed and coloured or partly so, 5 double page, and four double-page maps, in original lithographed wrappers, preserved in card box. Atlas volume: folio, two parts in one volume, the first, Historique et Scientifique, vignette title (dated 1845), list of plates, 24 lithographed plates, some coloured; the second with a large folding map, four folding plates bearing a series of maps, relating to the history of cartography for the area covered by De Hell, 6 uncoloured lithographed plates of shells and ammonites, etc. Atabey 591; Brunet III 295; BL; Not in Weber; nor in Blackmer.

This is all that was published of this important work, considered the best on this area. The plates are by Jules Laurens, after his own drawings. According to an advert in the atlas volume, the work was available for purchase in three forms: firstly, the whole work as above; secondly, the historical section which consisted of two volumes of text and the historical atlas with the map and 25 plates; thirdly, the scientific section which consisted of one volume of text and the scientific atlas, containing the same map, but coloured with geological areas, four maps illustrating the cartography of the Black Sea, a plate of geological sections, and six plates of fossils. Hommaire de Hell was a civil engineer and in 1835 the Turkish Government offered him the post of engineer of public works at Constantinople.This was the occasion of his first journey to Turkey. In 1846 he travelled to Turkey with a brief to make a geographical mission in that country and also in Persia. He spent nearly five years in southern Russia, visiting all the Russian coasts of the Black Sea. He was accompanied on his journeys by his wife, who wrote the historical part of this work.

1091

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1092

232

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1094

LA CHAISE. Costumes de l’empire Turc, avec des notes explicatives; vues de Constantinople, des Dardanelles et de Smyrne, Prises en 1817, 1818, 1819, 1820. par Lachaise. First edition. Paris, Chez Pelicier, Libraire […] Janet et Cotelle, 1821. De la Lithographie de Cheyere […] de l’Imprimerie de L.T. Cellot.

MAZZARA, L[ouis]. Temple Ante-Diluvien dit des Geants decouvert dans l’ile Calipso aujourd’hui Gozo, pres de Malte par L. Mazzara en 1827. Paris, Chez Engelmann, [1828-1830].

4to, 6pp., (half title, preface), 61ff. (numbered; text accompanying plates), 61 lithographed plates, numbered I-LXI, 57 of these coloured, portrait of Sultan Mahmound II, 3 views, of which 2 folding, lithographed after C. Fauconnier, Lachaise and P. Lecomte. Bound in 19th century calf backed boards, spine gilt in compartments, label. Colas 1694; Brunet III, 726; Lipperhiede 1433; Vinet 2339; Atabey 647; Blackmer 934; GL; not in BL or Abbey.

An unusual and attractive set of Ottoman costume plates.

1093

LAURENT, Peter Edmund. Recollections of a ClassicalTour through the various parts of Greece,Turkey and Italy, made in the years 1818 and 1819. London, Whittaker, 1821. Quarto, 4 handcoloured aquatint plates. Green cloth-backed boards. Abbey Travel 204; Atabey 680; Blackmer 959; Tooley 293.

Folio, engraved vignette title, 11 full page plates in two states, black and white and handcoloured, followed by 8 plates including 6 small plates, also in 2 states, 4pp. of descriptive text ending with fragments on the history of Malta, 12pp. of descriptions of the plates. [TOGETHER WITH]: Small 12mo pamphlet tipped in “Sur la veritable situation de l’ile de Calypso” [Gozo] by Fournier in Paris, 1830. Extra-illustrated with 7 engraved plates and 5 lithographed plates, including a portrait of Napoleon in three poses, two printed pages of inscriptions, including one on tissue, 20 blank pages, tissue guards, 25 plates of various sizes, extra illustrated with 12 additional plates. Contemporary brown calf backed mottled boards, spine gilt.

Gozo, this small island in the mid-Mediterranean, contains some of the biggest megalithic monuments. The preferred theory is that it was built before pyramids by the apparently peace-loving natives of the island, who performed all the work without outside help. The first work (1816-1826) relates to the temple complex of Gozo’s Ggantija “Giants Place.”This was the first site to be excavated and dated from 3600-3000 BC. It has been suggested that the façade may have measured 16 metres in height. 1094

1095

1096

MCNIVEN, Major Thomas William Ogilvy [and] Robert HAVELL. Panoramic View of Corfu. London, Robert Havell, 1836.

OLIVER, Samuel Pasfield. Madagascar and the Malagasy. With sketches in the provinces of Tamatave, Betanimena, and Ankova. London, Day, [1866].

Oblong 8vo, panoramic copper engraved plate aquatinted, after a watercolour by Robert Havell and published by his own publishing company.

Large 8vo, frontispiece map and 24 handcoloured lithograph plates, plan. Contemporary brown morocco gilt.

This would appear to be a scarce panoramic view of Corfu. Not listed in Abbeyâ&#x20AC;&#x2122;s collection of panoramas.The quality of the engraving and colouring is high as would be expected from Havell.

1096

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OTTH, Adolphe, Dr. Esquisses Africaines, dessinees pendant un Voyage a Alger et lithographiees par Adolphe Otth. Bern, J.F. Wagner, [1838]. First edition. Large folio, lithographed title, 14pp. text, lithographed portrait on India paper, 30 tinted lithographed plates by and after Otth, each captioned in letterpress in lower margin, plus lithographed title, original printed wrapper to upper cover, contemporary cloth backed boards, marbled sides, printed label on upper board. Playfair, Algeria, 773; Gay 830.

A scarce and attractive set of views. Otth, a physician, naturalist and native of Bern, travelled in 1836 to the Balearic Islands and Algeria, via Dauphine and Provence. His research was largely on insect, reptile and amphibian life, of which he collected a large number of species. In 1837, a year before this present work appeared, Otth was the first to describe the frog genus Discglossus, the â&#x20AC;&#x153;Painted Frog.â&#x20AC;? His travels were based largely around the Mediterranean.

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1098

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1100

PREZIOSI, Amadeo. Stamboul. Souvenir d’Orient. Paris [Imprimerie Lemercier], 1865.

WALSH, Thomas. Journal of the Late Campaign in Egypt, including Descriptions of that Country and of Gibraltar, Minorca, Malta, Marmorice, and Macri; with an appendix containing official papers and documents by Thomas Walsh. London,T. Cadell Jun.and W. Davies, 1803.

Second edition. Folio, mounted on guards throughout, tinted lithographic title by Lemercier and 28 chromolithograph plates trimmed to the edge and mounted on thin card as issued. Original green pebble-grained cloth, border blocked in blind, upper cover lettered in gilt. Cf Atabey 999 (1861 issue); cf. Blackmer 1353; cf. Colas 2422 (1858 issue); cf. B. Llewellyn & C. Newton People and Places of Constantinople. London, 1985. 1099

PÜCKLER-MUSKAU, Fürst Hermann Ludwig Heinrich von. Semilasso in Afrika. Aus den Papieren des Verstorbenen. Stuttgart, Hallberger, 1836-1837. First edition. 6 volumes, 5 octavo volumes of text and 1 oblong folio atlas, 7 handcoloured lithographed plates by Obach after Kuestner, text volumes uncut in original yellow printed wrappers, atlas in later cloth with original green upper wrapper bound in. Gay 2198; Kainbacher, p. 326; Playfair Algeria 674; Playfair Tunisia, p. 52.

Prince Herman Ludwig Heinrich von Pückler-Muskau, German nobleman, who apart from his interest in landscape gardening, wrote widely appreciated books, mostly about his travels in Europe and Northern Africa. Pückler-Muskau was particularly fascinated with the Mahgreb region of North Africa, known as “the place of sunset”. His powers of observation were keen and his style lucid, animated and witty.This is one of his later travel books.

1099

Second edition. 4to, subscribers list, list of plates, 49 engraved and aquatint plates, numbered 1-49 (no no. 36), 12 plates handcoloured or partly so, of these 6 are aquatinted costume plates, No. 23 forms an overlay to No. 24, but is numbered and listed as a separate plate in the directions to the binder, modern calf, red morocco label. BL; GL; not in Weber; Hilmy II, 318; Brunet V, 141; Blackmer 1767; Abbey Travel 266; Gay 2278.

The first edition appeared in 1801. Abbey states that there were at least two more editions. A French edition appeared in 1823 with the author’s name given incorrectly as “Walls”. The plates, mostly after drawings by the author, include 15 maps and numerous battle plans. The subscribers, mostly military men, include Napier, Sydney, Smith and Spencer Smith.

THE REST OF THE WORLD

INCLUDING THE INDIES, FAR EAST, AND THE PACIFIC

1101

ALEXANDER, William. The Costume of China illustrated in Forty-Eight coloured Engravings by William Alexander. London,William Miller, letterpress by W. Bulmer and Co., 1805. First edition. Large 4to, 2ff., half title and title, aquatint frontispiece, 2ff., subscribers list, 48 unnumbered ll., notice published with the plates, index leaf, 48 handcoloured aquatint plates, unnumbered, the final 12 only carry the imprint “London Published by W.Miller, Old Bond Street”, mounted engraved pictorial title, washed in sepia by the artist, large paper copy with plates uncut, all descriptive text mounted, modern straight grained morocco gilt ruled, spine gilt in compartments, raised bands, copied from original corner pieces laid down over older boards. Abbey Travel 534; Cordier 1858-9; Lipperheide 1527, mention only; Martin Hardie, p. 151; Prideaux, p. 250 & 317; Colas 74; Brunet II, 324; Vinet 2359.

The plates are dated between 1797 and 1804, published by W. Miller.These engravings were reproduced in the work of Malpiere, La Chine, Moeurs, Usages, Costumes …(2 volumes, edited in Paris in 1824-27). There were also French editions of this work produced, and a second edition appeared in 1814. Alexander was in China as draughtsman with Lord Macartney’s embassy to the emperor. Following the great British mission to China in the eighteenth century, interest in China, its costumes and customs was high. It is possible a portrait was included in later issues. The Abbey copy was with plates in two states, dedication to Earl Macartney incorporated in vignette (plate 1, W. Alexander fecit, London published November 1st 1804 by W. Miller). Alexander also wrote the Chinese text (and also the Austrian) in Murray’s 1814 series, Picturesque Representations.

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1102

ANBUREY, Sir Thomas. Hindoostan Scenery consisting of twelve Select Views in India Drawn on the Spot by Tho. Anburey of the Corps of Engineers Bengal during the Campaign of the most Noble the Marquis Cornwallis showing the Difficulty of the March thro’ the Gundecotta Pass. London,The Author, [1798-99]. First edition, large folio, 12 handcoloured aquatint plates by Francis Jukes after sketches by Anburey, on guards throughout, modern maroon half morocco gilt over marbled boards by Aquarius. Godrej & Rohatij Scenic Splendours, p. 147; one of the “home published” sets of large Indian Views (Mildred Archer); but not in the usual bibliographies (Abbey, Prideaux); no copy in the Travis collection.

1102

A scarce set of views.Thomas Anburey (1759-1840), of the Bengal Engineers, made sketches whilst surveying a route in 1792 and 1793. His party started from Seringapatam, journeying through Mysore and continuing northwards into the Cuddapah district. Here they moved through the Gundecotta Pass, a deep gorge of the Penner River, and on to Bundelkhand before reaching Kolpi on the Jumna. Guandacotta was at the centre of the triangle formed by Banaganapill, Anantapur and Caddapah Gandikota, or Gorgefort, believed founded in 1123AD. In 1819, at the end of the third Mahratta War, the Bengal Sappers and Miners were raised at Allahabad by CaptThomas Anburey.Their first combat experience was at Bhuratpore in 1825, winning their first battle honours in 1826. “By October 1793,Anburey had decided to publish a selection of his sketches. The Calcutta Gazette announced a list of subjects and invited subscriptions. In 1799 the book was published by Anburey himself in London.The set contains four views of the Gundecotta Pass, the Fort of Golconda near Hyderabad and Kalpi. One of several scenes of Hyderabad shows the Musi River, the City walls along its banks. The picturesque qualities of the prints with delicate shades of watercolour, convey nothing of the rigours as experienced by the army during this long march” (Godrej & Rohatgi).

1103

1104

ATKINSON, James. An Account of the State of Agriculture & Grazing in New South Wales; including Observations on the Soils and General Appearance of the Country, and some of its most useful Natural Productions; with an Account of theVarious Methods of Clearing and Improving Lands, Breeding and Grazing Live Stock, Erecting Buildings, the System of employing convicts, and the expense of labour generally; The Modes of Applying for Grants of Land; with other Information. Important to those who are about to emigrate to that Country. The Result of several Years’ Residence and Practical Experience in those Matter in the Colony. London, J. Cross, 1826.

BRAAM’S, J.J. van; BIK, Adrianus Johannes; GORDON, William Johannes. Six Prints of Java [Vues de Java]. London, Ackermann & Co., Paris, Goupil & Vibert; [and] Amsterdam, F. Buffa, 1842.

Oblong 4to, 146pp., errata leaf, coloured folding frontispiece and 4 aquatint plates, 3 in colour, original illustrated boards. Not in bibliographies. Apparently a very scarce book.

Oblong folio, set of 6 handcoloured lithographed plates by William Johannes Gordon after Adrianus Johannes Bik, contemporary half calf gilt.

This work is listed on the India Office (British Library) site of select materials (p. 741 and onwards) as a series of single prints. Overall, an impressive and attractive set of plates, which appear to have been put together by van Braam of his properties on Java and of that of compatriot General Reisz.

In his preface the author states that this work is in response to the many queries put to him on the present state of New South Wales and especially its agriculture and grazing. He decided to write it on his own accord because of the many repetitious queries to find a comprehensive method of satisfying curiosity. Atkinson was one of the progressive farmers, who in writing and practice tried to raise the efficiency of farming in New South Wales. This work emphasised the problems faced in adapting European plants, animals and farming methods to a strange environment. Experience of Kentish farming and “the Agrarian Revolution” were his background. Atkinson was awarded the Gold Medal by the Agricultural & Horticultural Society for his “judicious and ably written treatise.”

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1105

[BROUGHTON, Frances]. Overland Journey to India from Original Sketches [on title plate]. Twelve Views drawn on Zinc by W. A. Delamotte. From the Original Sketches by F. Broughton. H.E.I.C.S. [wrapper title]. London, C. Chabot, [c.1847]. Oblong folio, 12 handcoloured zincographic plates, including title plate. Original printed wrappers (dated 1847 in the plate); housed in modern brown cloth box.

The work illustrates the Overland Mail route from England to India by way of Suez which was opened in 1837. AbbeyTravel 522; OCLC cites copy in State Library of Berlin; COPAC cites copy in British Library; not in British Museum print collection or the V&A.

1105

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1106 1106

DANIELL, Thomas and William. Oriental Scenery; orViews of the Architecture,Antiquities, Landscape Scenery of Hindostan. London,Thomas Daniell, 1795-1799-[1800-1807-1808]. First edition. Large folio, 6 volumes. A complete set (replaces Bobins 232). Dedication, title, and plates as follows, with 6 uncoloured aquatint titles and a total of 150 handcoloured aquatint plates on thick paper, mounted with paper guards throughout as issued. Contemporary half calf gilt. Abbey Travel 420; Sutton, Chapters I-VI, and No.12 (p. 156); Tooley 172; Franklin, pp. 28-29; Prideaux, pp. 94, 244.

Although Parts 3 and 5 above carry the words Oriental Scenery, they are invariably part of the work. Only Part I was published by Bowyer, the rest of the work by Thomas Daniell himself. James Wales was the artist in Part 5. The complete work with text was published in England, according to Bohn, at a price of 200 guineas.The work was dedicated to the East India Company, who took thirty sets of the work. The Daniells left England in 1785, returning in September 1794. It seems that from an early stage Thomas Daniell set out to emulate and surpass William Hodges,

whose work Select Views of India appeared in May 1785. The Daniells, uncle and nephew, were determined not only to do better than Hodges but to expose the weaknesses of the pioneer’s work by choosing the same views as Hodges’, drawing them more accurately, and aquatinting them more skilfully. The accuracy of the work was probably greatly aided, however, by the fact that Thomas and William used a camera obscura, particularly useful for architectural subjects. In time William surpassed his uncle’s skill in aquatinting, let alone that of Hodges, but at the cost, he mentioned, of working from six in the morning till midnight for the first seven years after his return from India. As a result, however, William Daniell’s skill as an aquatinter was admired by the likes of Turner (Abbey Travel 420).The plates were bound as follows: Part I, 24 plates of Delhi, Jumna, Agra; Part II, 24 plates; Part III, 24 plates; Part IV 24 plates; Part V, A Series of Indian Antiquities, 24 plates; Part VI, Hindoo Excavations in the Mountains of Ellora, near Arungabad in the Decan, 24 plates.Tooley describes this as “the finest illustrated work ever published on India.” He remarks that although initially published at 200 guineas, it was later offered at £30 unbound per part. Part V issued in two series of 12 plates, with an additional eight plans added to this section.

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DANIELL, William (engraver) [and] Captain Robert SMITH (artist). A Series of ElevenViews in Prince of Wales Island, Penang. London, William Daniell, 1821. Large oblong folio, complete with all 10 hand-coloured aquatint plates, plus title page/chart; plates with double gilt rule, each plates bearing “Painted by Capt. Robert Smith of Engineers”, preserved in modern cloth box. A very rare series complete. Abbey Travel 525; Prideaux pp. 333, 352; Sutton p. 117 and No. 54 (p. 180); Tooley (1954) No. 458.

The Prince of Wales Island, or Pooloo Pinang, is now known as Penang. The British flag was raised there on 11th August 1786 by Capt. Francis Light. Light had married the King of Quedah’s daughter and the island was her dowry.Their son, William, was founder of Adelaide and their daughter married Col. James Walsh, author of Military Reminiscences (1830). Plates were inscribed to, among others, Sir Charles D’Oyly Bart, George Chinnery, as well as Governor W.E. Phillips Esq. All the dedicatees were Fellows of the Royal Society. Sir Charles D’Oyly himself illustrated works on India whilst artist George Chinnery taught art in Calcutta to many of the famous travellers to India of this time.

1108

[DICKENSON]. Sketches of some of the Various Classes and Tribes inhabiting the Colony of the Cape of Good Hope and the Interior of South Africa. London, W. Robert and Lowes Dickenson, 1851. 4to, frontispiece and 42 lithographed plates, original maroon cloth gilt on upper cover and spine, [together with]: Album of original watercolours, these with pencil hatching in foregrounds, some with pencilled captions and initialled by the artist in lower right hand corner, these also in 4to, with typed descriptive index watercolours preserved in plastic slipcases bound in modern blue calf gilt. S.A. Bibl. Vol. IV, p. 220; not in Abbey

“The originals of these Sketches are from the talented pencil of a gentleman many years resident at the Cape, and were taken by him from Nature during an Expedition into the Interior.This work gives an account of each tribe which the author hoped would lead in the reader an increased interest in the various races and solicitude for their moral and spiritual civilisation and improvement.” The work, in fact, consists of various travellers to amalgamate the statistics of the various tribes introduced.

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1110

EARLE, Augustus.. Views in New South Wales and Van Diemen’s Land. London, J. Cross, August 10th, 1830.

GILL, Samuel Thomas. The Australian Sketchbook by S.T. Gill. Melbourne, Published by Hamel and Ferguson, 1865.

Oblong folio, part I only, 4 colour lithographed plates by Hullmandel. Original illustrated wrappers; green cloth chemise and box. Wantrup No.220.

Oblong folio, 25 chromolithographic plates, including illustrated title. Contemporary brown morocco ornately gilt and lettered in gilt. Ferguson 9924f; Mackaness, pp.160-61; Wantrup 251.

It is now widely acknowledged that Augustus Earle (17931838) was the first independent, professionally trained artist to visit each of the five continents and record his experiences. Earle’s voyage to Australia started disastrously, but he was rescued by the “Admiral Cockburn” and arrived in Hobart in January 1825. By October he was in Sydney. Earle, who had studied at the Royal Academy, painted portraits of the city’s notabilities, including Mrs Blaxland, and gave an exhibition of his work. Earle travelled widely to sketch landscapes and aboriginals. He visited the Blue Mountains and Port Macquarie, and later the Illawarra district. In 1827 he painted views of Sydney from Palmer’s Hill. He probably did his six watercolour scenes for Burford’s Panorama of Hobart at this time, which was exhibited in London in 1831. After his return to Europe, he joined the HMS “Beagle” as artist and was befriended by Charles Darwin. His Australian and New Zealand paintings, now in the Nan Kivell Collection in the National Library of Australia, are of historic and artistic importance. 246

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Considered Gill’s most famous volume, this is one of best nineteenth century illustrated books on Australia.

1111

GUERARD, Eugene Johan Joseph von. Australian Landscapes. A Series of Lithographs illustrative of the most striking and pictorial Landscape Scenery of Victoria 1866-68. Melbourne, Hamel & Ferguson, 1867. Oblong folio, 24 tinted lithographed plates, each with a leaf of descriptive text, publisher’s half purple roan, matching gilt lettered title label on front, new solander case. Wantrup 257.

One of the most splendid of Australian colour plate books and a great achievement by one of that nation’s most important artists.Von Guerard’s paintings, made during his first fifteen years in Australia, create a series of views of outstanding quality. He made and lithographed his own drawings, with the result that there is an accurate and intentional relationship between the original painting and the finished printed view.A rare work which has been much in demand from its first appearance, by colonial Australia’s most accomplished academic artist.This work has been said to mark the end of the topographical plate book tradition.

1112

HEINE, Wilhelm. Illustrations of the Japan Expedition. Wilhelm Heine’s Graphic Scenes of the Japan Expedition. NewYork, Heine, Brown et al, [n.d. but plates dated 1855-56].

Folio. Plates printed in colour and finished by hand, G.W. Lewis (1), J. Sarony & Co (4) and Boell and Michelin (1), all after Heine, tinted lithographed title by Brown, printed by G.W. Lewis, with integral descriptions and titles to the six plates, within decorative border including vignette scenery and portraits of places and people, 5 plates printed Sarony and Co. (1856), final plate Boell & Michelin (1856), contemporary half calf preserving original wrappers. Peters, American on Stone, pp. 98, 352-353; S.M. Morison, “Old Bruin” Commodore Matthew C. Perry 1704-1858 (Boston 1967), p. 463, photographed for Vol. III Surveying Bay of Yedo.

Heine was the official artist of Commodore C. Perry’s expedition to Japan in 1853-54. On his return to the United States he produced several series of 10 prints commemorating the expedition. He used New York lithographers Sarony, probably the most skilled craftsmen in their profession in the U.S. at that time. The plates were either issued loose in folders or in book form. This was the most important diplomatic mission ever entrusted to an American naval officer: the negotiation of a treaty with Japan, a country sealed against intercourse with Occidental powers.The government proposed to send an imposing fleet to Japan, for Perry was to carry a letter from President Fillimore to the Emperor of Japan. The aim was to ensure safety of the U.S. seamen in Japanese waters.The initial suggestion from the Japanese was that they should negotiate on the American ship. However, Perry insisted that they should land.They stayed for nine days in Yedo Bay before being allowed on shore, and documents were finally handed over on land in the village of Kurihama. It has been considered that the success of this mission was due to Perry’s insistence and careful planning.

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1113

[MADELEY, George Edward]. Six Views of Singapore and Macao, from Drawings made on the Spot in 1840. London, Ackermann & Co., 1840. Small folio, 6 handcoloured lithographed plates by Madeley after Robert Pouget (fl. 1830s) showing views in India and in the vicinity of Bombay, original printed wrappers, loose as issued, together with 8vo short descriptive text modern green cloth folder. Not in Abbey or Chater Collection; See India Office Collection, British Library.

Includes views of Singapore from Government Hill, Campong-Clam, and the Court House. After S.Ch. artist Madeley engraved and lithographed on the spot in 1840, also includes a view of Singapore with English residences. (A facsimile of this work has recently appeared.)

1114

MASON, Cyrus. Six tinted lithographs, representing the Australian Digger, Sketched by Glover, drawn on stone by Cyrus Mason. Melbourne, published by Cyrus Mason, 1855. Oblong folio, 6 tinted lithographic plates, loose as issued. Original printed yellow wrapper with paper loss filled in and text intact, new brown cloth folding box with morocco label. Ferguson 12320; Wantrup, p.327 refers to the book but does not cite it.

An extremely rare complete set of prints by two important goldfields artists, Cyrus Mason and Henry Heath Glover.

1115

[MAZUCHELLI, â&#x20AC;&#x2DC;Ninaâ&#x20AC;&#x2122; Elizabeth Sarah]. The Indian Alps and how we crossed them being a Narrative of twoYears Residence in the Eastern Himalayas and two Months Tour into the Interior of a Lady Pioneer. London, Green & Co., 1876. First edition, 8vo, xiii, 612pp., chromolithographed frontispiece, wood-engraved title vignette, 9 chromolithographed plates by Hanhart, folding coloured lithographed map with routes marked in red, woodcuts in text, all after Mazuchelli, original green pebbled cloth, upper cover blocked in black and gilt. Miller Luree, On Top of the World Five Women Explorers in Tibet (Seattle, 1985), pp. 25-46; Neate M74; Robinson, Wayward Women, pp. 53-54; Yakushi M-126; Field, William O. (19041994), noted glaciologist, who wrote on Alaskan glaciers.

Mazuchelli and her husband followed the Nepal-Sikhim frontier along the Singalia Ridge. The frontispiece shows a coloured image of Jannu. One of the attractive text vignettes shows the author being carried through a mountain pass in a sedan chair. This library has a second copy of this work with the bookplate of Edward Christopher Merewether (1820-1898).

248

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1116

250

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1116

MELVILLE, Harden S. Sketches of Australia and the Adjacent Islands, selected from a number taken during the surveyingVoyage of HMS Fly and Bramble under the Command of Capt. F.P. Blackwood R.N. During the Years 1842-46 by Harden S. Melville, Draftsman to the Expedition. London, Printed and Published Dickinson & Co., 114 New Bond Street, London, [1849]. Oblong 4to, lithographed vignette title, printed title, preface 1p., versos blank, dedication (one l.), preface (one l.), one leaf of text facing each plate, original printed wrapper serving as title to this work, 25 tinted (one tint) lithographed plates (including title), these coloured, all are unsigned and without imprint, contemporary half calf, handcoloured upper wrapper bound in. Abbey Travel 581; Ferguson 5109; Lipperheide 1640; Tooley (1954), No. 324.

Melville was the draughtsman of this expedition.The plates include views of Hobarton; Sandy Cape; Gould Island; Bird Island; Wallis Island; Darnley Island; New Guinea; Malay Village near Coepany; a Street in China.

1117

MIELING, C.W. (publisher). De Indische Archipel. Tafereelen uit de Natuur en Het Volksleven in Indie. The Hague, 1865. Folio, 24 steel engraved plates, loose as issued in folder. See Bobins 286. Not in Abbey or usual bibliographies.

1118

MOEURS ET COUTUMES DES PEUPLES, ou collection de tableau, representant les Usages remarquables, les Marriages, Funerailles, Suplices, Fetes des diverses Nations du Monde. Paris, Chez Madame Veuve de Hocquart, 1811-1814. 2 volumes, 4to, volume I: half title, title, 79pp., text, 73 engraved handcoloured plates; volume II: half title, title, 76pp text, 70 engraved and coloured plates; the address in imprint in volume II slightly differing from that in volume I, contemporary calf. Colas 2109.

Countries and regions whose costumes are included in these two volumes: Tibet, Siam, Tunquin, Cochin China, China, Korea, Japan, Siberia, Kamtschtka, Tscoutkis, Madagascar, Java, Sumatra, New Zealand, Pelew Islands, and many others.

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1120

PARKINSON, Sydney. A Journal of a Voyage to the South Seas, In his Majesty’s ship the Endeavour, faithfully transcribed from the papers of the late Sydney Parkinson, draughtsman to Sir Joseph Banks Bart in his Expedition with Dr Solander round the World, to which is added Remarks on the Preface, by the late John Fothergill and appendix containing an Account of the Voyages of Commodore Byron, Captain Willis, Captain Carteret, Monsieur Bougainville, Captain Cook and Captain Clarke. Embellished with Views and Designs, delineated by the Author … London, Stanfield Parkinson, [1773?].

PARKS, Fanny. Wanderings of a Pilgrim – In search of the Picturesque, During Four-and-Twenty Years in the East with Revelations of Life in the Zenana. London, Pelham Richardson, 1850.

4to, pp. xxiii, 212 (2), handcoloured portrait of Parkinson, title advertisement, xxiii (prelims), preface signed Stanfield Parkinson (1773), 18pp. Explanatory Remarks on preface plus postscript ends p. 22, two partially handcoloured spheres (Western and Eastern Hemisphere), 353pp., errata leaf engraved, 27 plates. Hill 1308.

Zenana refers to the part of the house reserved for the women in India and Pakistan. Zenana missions by women missionaries to Indian women in their homes were undertaken at this time with conversion in mind.

An important account of Captain Cook’s first voyage. This work includes interesting vocabularies of the South Sea languages and dialects, compiled by Sydney Parkinson, a draughtsman engaged by Joseph Banks to accompany Captain Cook and himself in the “Endeavour” to the South Seas. Parkinson made numerous natural historical drawings as well as landscapes and portraits of the native chiefs. The expedition finally left New Zealand, and headed for the Cape via Batavia (Prince’s Island). Parkinson died before they reached the Cape. There ensued a somewhat bitter battle for the ownership of Parkinson’s artistic material by his brother, Stanfield. This is the edition of the journals published by the “opposition”, so to speak (Parkinson’s brother Stanfield). In fact Stanfield Parkinson, whose name is on the imprint, had also died before publication. Earlier editions had been published by Banks.

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First edition. 2 volumes, large 8vo, xxxv plus 479pp.; xiii plus 523pp., 49 coloured lithographed plates, plus one folding view of the Himalayas (comprising 50 plates as called for), 20 of the plates handcoloured, one heightened with gold, publisher’s red morocco gilt, pictorial vignettes to covers and spines. Abbey Travel 476.

1120 THE

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1121

[SALT, Henry] - VALENTIA, George Annesley, Viscount. Voyages and Travels to India, Ceylon, the Red Sea, Abyssinia, and Egypt [with] SALT, Henry. Twenty-Four Views in St Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia and Egypt. London, W. Bulmer & Co., 1809. Miller, 1809. First edition. 3 volumes, large 4to, 9 folding charts and 60 engraved plates (mainly after drawings by Henry Salt), contemporary blue straight-grain morocco gilt, Greek key scroll to boards. Brunet 20020.

Brunet describes this as a well-executed work but, perhaps unfairly, not of great interest. Valentia visited Seringapatam in 1804 and gives a full description in this work of Tipu’s palaces and mausoleum. The Sub-Continent became a stimulus for the Romantic Movement in England. The renaissance of British Romantic Art and the nineteenth century iconography or European prospect of India has been credited to Salt. The work is also a survey of the transformation of images brought home by those artists imposed by the cultural imperatives of Imperial Britain under Queen Victoria. A second Indian Renaissance for British (and European) art and culture also took place, although there is an undeniable connection between English Romanticism and British Imperialism. This work includes Salt’s views of Sainte-Helena plus descriptive text in 4to. (An edition of these voyages came out in 3 volumes, 8vo, together with a 4to atlas of 72 plates.) The work was a translated into French as Voyages de l’Indostan, a Ceylan Voyage en Abyssinie et en Egypt par M. Salt (Dr Almeida Gilpin, Indian Renaissance, 2005).

1122

SCHLAGINTWEIT, Robert, Adolphe and Herman. Scientific Mission to India and High Asia undertaken between the years 1854 and 1858 by order of the Court of Directors of the Hon. East India Company. Leipzig and London, Brockhaus andTrubner & Co., 1861-66. Elephant folio, 4 volumes and atlas volume, in four original parts, printed title, dedication, 9 lithographed maps, 7 in colour, metrological chart, 7 profiles and 29 plates, plate 7 on two sheets, plates 4, 6ll. and 18 with two illustrations, plates 21-23 on three sheets, all coloured lithographed plates. Yakushi S65 (4). 1123

One of the finest examples of topographical views in 19th century colour lithography, printed by Storch & Kramer and W. Loeillet in Berlin, and Lemercier in Paris. Lithographed by Koch in Berlin and Sabatier in Paris, after watercolours by Hermann de Schlagintweit. Plates include spectacular views of snow-covered Mount Everest.

SCOTT, Mrs W.L.L. Views in the Himalayas. Drawn on the Spot by Mrs W.L.L. Scott. London, Messrs Henry Graves & Co., and sold by Messrs Allen & Co., and Messrs Ostell & Lepage, Calcutta, May 1st, 1852. arge folio, lithographed title in red, one leaf text and dedication, double column printed in blue, 15 tinted lithographed plates

254

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1122

(including title No. 15), signed Day & Son Lithographers to the Queen, lithographed by W.L. Walton; T. Picken, W. Simpson, after the author, 2pp. glossary regarding climate, costume, animals, birds, spontaneous and agricultural productions, and description of views depicted. Abbey Travel II, 500.

Many of the plates show the surrounding scenery, Kussowlie and the plains beyond, and the mountains around Simla in

the sunrise, in the distances the snowy range of peaks of the greater and lesser Shali. Included in the plates are also some of the local residences. An unusual and attractive distant view of the Himalayas, and the less distant views of Koomarsen, Khotghur and the staging bungalow of Nagkanda. Interestingly, talented lithographer W. Simpson was one of the three lithographers working on these attractive plates. Simpson was to consolidate his reputation with his remarkable work on the Crimean War.

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1126

SHIPLEY, Conway. Sketches in the Pacific.The South Sea Island. London,Thos. McLean, 1834.

THOMPSON, George. Travels and Adventures in Southern Africa … Eight Years a Resident at the Cape. Comprising a View of the Present State of the Cape Colony, with Observations on the Progress and Prospects of the British Emigrants. London, Henry Colburn, 1827.

Folio, 24 lithographed plates of which 14 are handcoloured. Red cloth backed over blue cloth, title in red to front cover, gilt borders. Abbey Travel 601; Ferguson 15656A. Not in Tooley.

1125

TEMPLE, Lieut. R. Eight Views of the Mauritius comprising the Positions of the British Army commended by the Maj. Gen. Abercrombie on 29th/30th November and 1st December 1810. Also of the town and harbour of Port Louis. Most respectfully dedicated to Lieut. Col. L. Smith and the Officers of H.M. 65th Regiment by their most Obedient Humble Servant R.Temple H.M. 65th Reg., Bombay 1811. London, W. Haines, South Molton Street, 1813. Oblong folio, engraved title, 8 handcoloured aquatint plates I. [for J] Clark sculpsit after Temple, each headed Isle of France No. 1-[8] and beneath R. Temple, H.M. 65th Reg. delt. J. Clark Sculp. Publ April 1813 by W. Haines. Modern period style red morocco backed marbled boards, tipped at corners. Abbey Travel 293; Prideaux 3531; Tooley (1954) 481.

Another set of drawings by Temple in similar style was published by Haines in 1813 (SixteenViews of Places in the Persian Gulf), presumably from drawings made on the same voyage. As indicated in the title, the majority of the plates in this work are of the town, harbour and surroundings of Port Louis. Besides the publishing date at the foot of plates, Nos 4 to 8 have the date when they were drawn after the artist’s name, No. 3, 10th Dec 1810; others Dec. 23, 1810; Dec. 23, 1810; Jan 2, 1811 and another Dec. 1, 1810.

First edition. 4to, xviii, map of Southern Africa, plan of Cape Town and of Village of Graaff-Reinet, 20 coloured lithographed plates, 17 wood-engraved illustrations in text, double page frontispiece of parade ground, many aquatint plates in two states, coloured and uncoloured, vignettes at head of chapters, modern morocco ornately gilt, spine raised bands gilt, inner gilt dentelles. Abbey Travel 329; Gay 3058; Gordon-Brown pp. 26, 86, 98; Voll, pp. 493-4. The Preface acknowledges the originals of nos. 7, 9, and 15 to be after De Meillon (see Gordon-Brown, p. 86).

Gordon-Brown suggests that the woodcuts of the Lutheran church may have been copied from a larger woodengraving made at the Cape by Frederik William de Wet.We have included this work in this section as it seemed appropriate; most traffic sailing to the East and back would normally have broken their journey at the Cape, unless simply sailing round it on their way to India and beyond. This was, in fact, as we have described a relatively long residence while undertaking research into the Cape and South Africa, particularly the progress of those British citizens who had broken their journey and settled in Southern Africa.

1127

TROEDEL, Charles. The Melbourne Album. Melbourne, Troedel, Album Office, 73 Collins Street East, [1864]. Folio, 24 handcoloured lithographed plates printed in colours, from two stones, captioned in lower margin, loose in original publisher’s portfolio, upper cover lettered in gilt. Ferguson 17322; Wanthrup 262.

The Melbourne album; comprising a series of elegant views of Melbourne and surrounding districts, lithographed, printed and published by Charles Troedel (1836-1906). Dedicated to Charles Darling K.C.B. Troedel was born in Hamburg, Germany in 1835 and resident in Melbourne from 1860.

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1127 1128

1129

WALES, James. Twelve Views of the Island of Bombay and its Vicinity; taken in the Year 1791 and 1792. London, R. Cribb, May 1800.

WESTALL, William – [FLINDERS, Matthew]. Views of Australian Scenery. [London, 1814].

Folio, 12 handcoloured aquatint plates, ruled in black, captioned and preserved in red morocco folder gilt border, spine gilt and flat loose as issued, trimmed. Not in Abbey Travel; Tooley 496.

Plates show views from Sion Fort; Bombay Harbour (3); Malabar Hill (2); Breach Causeway; Beach from Love Grove; from Belmont (3); Island of Elefanta. Wales was a portrait painter and architectural draughtsman. He was essentially self-taught and he painted landscapes in the manner of Poussin. It was his portraits which were exhibited at the Royal Academy between 1783 and 1791, the year he travelled to India.Thomas Daniell made his picture of the Poona Durbar from Wales’s sketches, “unrivalled for oriental grouping, character and costume”. Twenty-four of Wales’s drawings were also engraved and appeared in Daniell’s Oriental Scenery (see above). Wales was working on a series of sketches, including views of Elefanta, when he died. Some of these appear in this work as handcoloured aquatinted plates.

Landscape 4to, 9 handcoloured line engravings, original yellow wrappers, black calf label, preserved in new drop spine box. Abbey Travel 567; Wantrup 74b; Ferguson 598.

Westall was one of a group of young artists on board the Investigator, navigating round Australia 1801-1803 under the command of Matthew Flinders. Westall survived a shipwreck and found the coast “barren” rather than picturesque. “I am sorry to say the Voyage to New Holland has not answered my expectations in any way.” The Voyage was one of the greatest scientific and botanical studies ever undertaken. Flinders, along with a team of talented artists and botanists, produced a fine visual record of Australia still treasured today. Westall’s landscape drawings, sketches and paintings paved the way for an important tradition of Australian landscape painting which developed in Australia in the nineteenth century.

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MILITARY & SPORTING

INCLUDING MILITARY CAMPAIGNS, UNIFORMS & NAPOLEON;

SPORTING, PASTIMES & SATIRE Under the headings of Ray’s “Romantic Lithography”, and also “Romantic Wood engravings”, appeared a group of illustrated histories relating to Napoleon I, his campaigns, his legendary Garde Imperiale, and their victories.The authors, through their works, recreate again the bravery, glamour, and mythology of Napoleon and his era, which had died with his banishment to St Helena. An interesting group of works, of which this collection has several as included below. Artist Denis Auguste Marie Raffet created lithographs, whose great theme was France’s military epic from the Republic to Waterloo, with Napoleon as the dominant presence. [In these works] sometimes Napoleon is centre stage and sometimes in the remote background, but always he provides the focus of the scene. Moreover he is “the man of the people, the comrade as well as the leader of his soldiers” (Ray). 258

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1130

ARTARIA (publisher) - MAINFELD, E.G.; C. RAHL; A. BARTSCH (after sketches by Franz Habermann, drawn J.A. Klein). Brand von Moskau. Incendie de Moscou.[The Military Defeats of Napoleon] Vienna, Chez Artaria, [1812-1815].

1130

Oblong elephant folio, 22 numbered hand-coloured engravings, each captioned in French and German, all but one with decorative printed border. Later black calf over simulated tree calf over boards, black calf label to front board. Plates include Battle of Kulm 1813; Austrian troops near Hollenberg; Battle of Leipzig, captioned in German and Russian (Kotell fecit. Leopold Beyer sculp.); Bombardment of Wuerzburg, 1813; Battle of Hanau, 1813; Arrival of Napoleon in Elba, 1814.

THE

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1131

AUGUST, Friedrich. Koeniglich-Saechsische Armee. Leipzig, 1833. Oblong folio, 9 coloured lithographed plates, original lithographed wrappers. Not in Colas or Lipperheide.

1132

BELLANGE, Hippolyte. Collection des types de tous les corps et des uniformes militaires de la republique et de lâ&#x20AC;&#x2122;empire. Paris, Chez J.J. Dubochet et Cie, (imprim. Lacrampe et Cie), 1844. Tall 8vo, vii, preface, 112pp. (text), 50 handcoloured woodengraved plates, wood-engraved initial letters at start of each chapter, and on title, by Rouget, Guichou, Verdiol, Andreue, Best, Leloir, Brugnot after H. Bellange, 19th century half red morocco gilt ruled over pebbled boards. Sandler copy. Colas 2887; Beraldi II, 24; Brivois pp. 40 (giving list of plates); Glasser pp. 59 and 60.

The 50 handcoloured wood-engraved plates and vignettes include portraits of Napoleon Bonaparte as First Consul & Emperor, Prince Eugene, King Murat and Prince J. Poniatowski. Vinet cites a copy of 1843 published in Brussels with 44 plates. There is an Italian edition which Colas has seen, and a German edition Colas (288), also of 1843 with 50 plates (Beraldi II, 24; Brivois pp. 40, giving a list of plates; Glasser pp. 59 and 60). Ray points out that the images of Charlet, Bellange, and Raffet, French Romantic artists, made a great contribution to perpetuating the Napoleonic legend.

Bellange was a French artist and printmaker who, aged 16, had entered the studio of Antoine-Jean Gros, where Nicholas Toussaint Charlet, R.P. Bonington and Paul Delaroche were also pupils. Influenced by Charlet in particular, in 1817 Bellange started work as a commercial illustrator using the still new medium of lithography, notably for the publisher Godefroy Engelmann 1823-35. Bellange published 15 albums of lithographs devoted to patriotic military subjects, long in popular favour, then turned his talents to oil painting.

1132

260

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1133

262

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1133

1136

BERKA, Johann. L’armee francaise representee en 18 feuilles. Prague, Francois Zimmer, [c.1810].

CVZ, Major. Civil War in Spain. Characteristic Sketches of the Different Troops. [London], J. Dickenson, 1837.

8vo, engraved title and 18 handcoloured engravings. Contemporary green boards, label on upper cover. Colas 303; Glasser 61-62.

Oblong folio, 1 leaf of text, 6 handcoloured aquatint plates (broadsheets), printer Graf J. [S.L.], loose as issued in original printed wrappers housed in modern archival folder. A copy of this work exists in the Museo Zumalakerregi.

1134

BOWYER, Robert (publisher). The Campaign of Waterloo, illustrated with Engravings of Les Quatre Bras, La Belle Alliance, Hougoumont, La Haye Sainte, and Other Principal Scenes of Action, including A Correct Military Plan, together with A Grand View of the Battle on a large scale. To which is prefixed A History of the Campaign, Compiled from Official Documents and Other Authentic Sources. London, Printed by T. Bensley and Son, Bolt Court, Fleet Street, for Robert Bowyer, Marlborough Place, Pall Mall, 1816. Folio, title, text pp. 1-12, Appendix, pp. 1-10, a Plan of the Glorious Battle of Waterloo, 8 handcoloured aquatint plates and a large page woodcut of St Helena on p. 4 of the Appendix, contemporary half calf gilt. Tooley 98. Abbey.

1135

[CLERJON DE CHAMPAGNY]. Album d’un soldat pendant la campagne d’Espagne en 1823. Paris, Imprimerie de Cosson, 1829. 8vo, 118pp., 40 handcoloured lithographed plates by Langlume after drawings by the author, including one uncoloured, contemporary half calf over marbled boards, spine flat. Hiler p. 172; not in Colas or Lipperheide.

Each plate represents a town or city in various parts of Spain, shown as a background to an image displaying Spanish costume of that region and including some military uniforms. An attractive and unusual costume work, apparently relatively scarce, presented as the sketch book of a soldier during the Spanish campaign.

1135

Apparently scarce set of these images of the Civil War in Spain, showing the different troops, composing the armies of Don Carlos and Queen Isabella, also various scenes of military operations and costumes of the Spanish peasantry.

1137

264

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1137

ECKERT, H.A.; MONTEN, D.; [and] F. SCHLEVER. Das K.K. Russische Militair aus dem grossenWerk saemmtliche Truppen von Europa in charakteristische Gruppen dargestellt entworfen und nach dem Leben gezeichnet. Wuerzburg, ChristianWeiss, 1840 [Imprime. par J. Lacroix]. Large 4to, dedication to Czar Nicolas 1st signed Eckert and Weiss, 144 plates, of which 35 schematic plates and two of orders or coats of arms, the rest highly finished coloured lithographed uniforms, illustrating regimental uniform and accoutrement, original lithographed boards, morocco spine flat and gilt, cornered. Glasser 329; Cat. Glasser 207, 368, 754, 782 and 796; Lipperheide 2120; Cat Millot 259-261; 274; 285; 286; 294296, 313, 314, 316, 318, 321, 341, 426, 438, 481, 600, 625-634; Colas 935 for Eckert, Monten and Schelverâ&#x20AC;&#x2122;s projected great work of the armies of Europe (the combined troops of Europe).

The second part of this vast artistic project was curtailed half way through by the death of Monten in 1843 and only the section relating to Sweden was published in full, containing the four countries, Sweden, France, Russia, and Switzerland. These four series were all published with lithographed section wrappers, serving as titles.

1138

FEYERABEND, Franz. Costumes militaries des cantons de la Suisse. Die eidgenĂśssischen Truppen. Basel, Franz Feyerabend, 1792. Folio, 26 colour-outlined etchings. Half vellum, printed paper sides, handwritten title label. Colas 1058; Glasser 788; Hiler, p.312; Lonchamp 211. 1138

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1139

1140

FIEFFE, Eugene. Histoire des troupes etrangeres au service de France depuis leur origine jusqu’a nos jours et de tous les regiments leves dans les pays conquis sous la premiere republique et l’empire. Paris, Librairie Militaire, Domaine, Librarire-Editeur de S.M. l’Empereur,Typographie Maulde et Renou, 1854.

FIEFFE, Eugene [and] RAFFET, Denis Auguste Marie. Napoleon 1er et la Garde Imperiale. Texte par Eugene Fieffe des archives de la guerre dessines par Raffet. Paris, Furne fils, editeur, imprimr. H. Plon, 1859.

2 volumes, 8vo, Vol. I: 2ff, xii 423pp. (text), 11 unnumbered handtinted plates of the various foreign troops in the service of France; Vol. II: 2ff, 436pp. (text), 19 unnumbered handtinted plates engraved on wood by Sorrieur, half calf spine gilt with fleur-de-lys, between raised bands, arms of Signet Library on upper cover, edges red. Colas 1064; Cat. Glasser 61; Vicaire III, 702.

Uniforms of countries shown: England; Austria; Bavaria; Belgium, the German Confederation; Croatia; Dalmatia; Denmark; the Two Sicilies; Scotland; Spain; Vatican States; Greece; Hanover; Holland; Hungary; Ionian Islands; Illyria; Ireland; Italy; Poland; Portugal; Prussia; Russia; Sardinia; Saxe; Sweden; SwissTuscany;Turkey;Wuertemberg;Asia; Circassia; Georgia; Africa; Egypt; Ethiopia; American Colonies.

266

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Small 4to, vignette title, image on India proof paper, lithographed frontispiece of “Advance at Hour of Midnight Review on Champs Elysee”, xvi, introduction, 170pp. text, index, 20 steel engraved, handcoloured plates, Raffet del. Ch. Colin sculpsit, lists officers by name in text, later green calf, gilt fillets, spine gilt in compartments with thistle device arms gilt on sides, binding by Riviere, typographie Henri Plon, upper cover with Imperial eagle, inner gilt dentelles. From the Signet Library. Colas 1063; Glasser 368; with title to plates, Lipperheide 2323; Vicaire III, 702; Ray, p.184-5.

These images with Napoleon as the dominant focus are perhaps the most masterly of all the illustrations offered of Napoleon and his soldiers” (Ray).

1139 THE

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1141

[GLASSER]. Costumes militaires. Catalogue des principales suites de costumes Militaires francais parues tant en France qu’a l’etranger depuis le regne de Louis XV jusqu’s a nos jours et des suites de costumes militaires etrangeres parues en France par un membre de la Sabretache. Paris, Libraire Historique et Militaire HenriVivien, 1900. Large 8vo, title, half title, vii pp. Preface, 1 unnumbered. leaf with title to Part I, catalogue of the main series of plates, 562pp. text, a table of chronology, 4 engraved plates, unnumbered, the whole in full red cloth gilt. Colas 1258; Lipperheide 2126.

This work of Glasser’s serves as a bibliography and iconography of French military uniforms. Special editions of the work were produced in small numbers.

1142

GROPIUS (publisher). Die Uniformen der Preussischen Garden von ihrem Entstehen bis auf die neueste Zeit, nebst einer kurzen geschichtlichen Darstellung ihrer verschiedenen Formationen 1704-1836. Berlin, Gropius, [1827]-1840. First edition. 4to, title, 117pp. text, paginated in sections of 32, 12, 12, 12, 60, 38, 48, 6 and 14pp., 106 fine handcoloured lithographed plates, 7 schematic and 99 costume plates, all against handcoloured backgrounds, each plate captioned below image, modern blue half morocco gilt. Colas 2928; Lipperheide 2170.

These plates, the majority of which have fully coloured backgrounds, are not signed and each represent several types of uniform of the Prussian Guards. Seven plates give details of the uniforms. This collection of images of the Prussian army is extremely rare. 1143 1143

HULL, E. [and] M. GAUCI. The Costume of the British Navy in 1828, lithographed by M. Gauci, from original drawings by E. Hull. London, Engelmann, 1829. 4to, 12 handcoloured lithographed plates, contemporary half green calf over tan boards with printed wrappers bound in. Abbey Life 336 (cites 17 plates); Colas 1504 (accords with this copy with 12 coloured plates); Hiler 451.

Hiler lists this work together with Hull and Gauci’s Costume of the British Army in 1828.

1142

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1144

1146

[HUNGARY]. Portraits des Hongrois, des Pandoures ou Croates, des Waradins ou Esclavoniens, et des Ulans, &c. Qui sont au service de [...] la Reine de Hongroie & le roi de Prusse; dessines d’apres la vie. The Hague, Chez Antoine de Groot, 1787.

LAURENT, Paul Mathieu (dit de l’ARDECHE) – [VERNET, Horace]. Histoire de […] Napoleon . Paris, J.J. Dubochet et Cie, 1839.

Second edition. Small 8vo, 16pp., title, text and captions in French and Dutch, double column to allow French translation, 6 copper engraved handcoloured plates, 18th century marbled paper wrappers. Colas 2410 for the first folio edition of 1742; Lipperheide 2224; de Ridder No. 612 describes the plates, which are in any event a striking set.

This edition gives descriptions also of Poles,Tartars and the peoples in the service of the Austrian Emperor and the King. Besides describing the countries, costumes and customs of these people, the author also touches on their armies and arms. An English edition with 10 plates was published in 1743.

1145

LAMI, Eugene. Souvenirs de Camp de Luneville. Paris, Delpech Editeur, n.d. First edition, first issue. Small oblong 4to, 6 handcoloured plates, A COMPLETE SET, on guards throughout, contemporary green calf backed boards.

An attractive series of plates showing an army at work and play within its camp. Lami was apprenticed to artist Horace Vernet, under whose tutelage he found the necessary impetus to transform his facility for art into one of the best talents of his time.Vernet taught him the science of precise drawing in even his most fantastic works, whereas Bonington taught him about the use of watercolour. In 1824 he found success at the Paris Salons and his place amongst the foremost painters of contemporary military matters. It was between 1830 and 1838 that he finally made his reputation as a military painter as well as becoming court painer, and several of his large canvasses still hang at Versailles.

270

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8vo, 802pp. (including portrait frontispiece), numerous woodcut illustrations in text, numerous head and tail pieces and decorated initials after Horace Vernet by Bellange.Bound in quarter red morocco over pebbled cloth. Ray 203.

This biography, with 500 vignettes by Horace Vernet, appeared in the same year as Norvins’ Histoire de Napoleon. Vernet’s designs follow the same plan as Raffet’s (headpiece, initial letter, tailpiece), but they tend to be larger and more formal in style. Vernet’s focus is less exclusively on Napoleon than on the surrounding circumstances of the Emperor’s life and career. Many of Vernet’s initial letters and tailpieces are allegorical. Ray sums up his view of Vernet’s work as perhaps being more generally appealing, but not to be compared with Raffet’s as an interpretation of Napoleon’s character and subsequent meteoric rise and fall.

1147

[LIFE GUARD HUSSARS]. Designs Concerning the History of the Life Guard Hussars 1773-1859. Small folio, 24 handcoloured lithographed plates, original upper wrapper bound in, modern red buckram morocco labelling piece gilt along spine.

1144 THE

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1148

1150

LOYAUTE M’OBLIGE. Historical Record of the Eighty-First Regiment, or Loyal Lincoln Volunteers; containing an Account of the Formation of the Regiment in 1782, and of its subsequent Services to 1872. Gibraltar, Printed by theTwenty-Eighth Regiment Press, 1872.

MARBOT, Alfred [and] DUNOYER DE NOIRMONT. Costumes militaires francais, depuis l’organisation des premieres troupes regulieres en 1439, jusqu’en 1789. Dessins et texte par Mrs De Noirmont et Alfred de Marbot. Paris, Clement and London, E. Gambart, impr. Lemercier, [1830-1860].

Small 8vo, frontispiece showing regimental banners, errata slip tipped in before title, preface, dedication, 256pp., contemporary half calf over pebbled cloth, spine flat and gilt ruled and lettered. Not in usual bibliographies.

The compiler writes in the preface of having spent 40 years among the ranks of this regiment, and felt compelled by a strong feeling of esprit de corps to write the history of the regiment and collateral events.The image of the Regimental Colours of the 81st Loyal Lincolnshire Volunteers mentions the Regiment’s Battle Honours on the standard: served in the battle of “Maida”, 1806, and in the Peninsula War, 1808-14, and all battles of the allies against the advance of the Napoleonic might into Spain and Portugal.

1149

MAASKAMP, E. Uniformes des gardes d’honneur des differens corps, dans les septs departments de la Hollande formes pour la reception de son Majeste l’Empereur et Roi; Uniformen van de onderscheiden corpsen in De Zeven Departmenten van Holland; opgericht tot de ontfangst van Zijne Majesteit den Keizer en Koning. Amsterdam, Chez E. Maaskamp, 1811 [Paris, La Giberne, s.d.].

3 volumes, folio, Vol. I: [c. 1830] half title, lithographed title, vi pp. (introduction), 100pp. (text to the first part), 115 coloured lithographed plates, No. 1-115; Vol. II [up to 1850]: 2ff (half title and title, lithographed), 185 coloured lithographed plates numbered 116-300; Vol. III [finished in 1860]: title of this volume modified to “Costumes militaires francais depuis 1789 jusqu’a 1814, dessins et texte par Alfred de Marbot”, 2ff (half title and lithographed title), iii pp. (introduction), 58pp. (text), 3pp. (introduction), 150 coloured lithographed plates No.1150, many heightened with gum arabic, contemporary burgundy half morocco over blue cloth. Colas 1970.

The first two volumes form the first part published in 50 original parts between 1830 and 1850; the second part was finished towards 1860 and contained 25 original parts.The work, which is the most important on the subject of French military costume, was edited by Baron Dunoyer de Noirmont for the troops, up to the reign of Louis XV; the remainder was the work of Alfred de Marbot. Listed under Colas 1971 and dated 1854.

Folio, title page, verso French text to first plate, 12 handcoloured aquatint plates by Maaskamp, each with the publisher’s imprint (a Amsterdam publie par E. Maaskamp, diresc. 1811), each plate with explanatory leaf of text in French, verso in Dutch with the names of officers on duty. Bound in original blue grey boards. Colas 2937 for the large folio facsimile of 1904 listed under title; Landwehr, Dutch Books with Coloured Plates 457 (mentions a Paris re-edition of 1906, printed in 60 copies).

The plates depict a guard of honour with a view of the city they represented.This original edition is scarce. It was never republished at the time, in part possibly due to the failure of the Napoleonic expedition into Russia. However a reedition was produced in Paris in 1904 and 1906, with explanatory text.

1150

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1152

[MAURICE OF SAXONY]. Mes reveries. Ouvrage posthume.Augmente d’une histoire abregee de sa vie, & de differentes pieces qui on rapport, par l’abbe Perau. Amsterdam & Leipzig, Arkstee & Merkus, 1757.

MOLLO, Tranquillo (publisher). Abbildung der verschiedenen Corps des Oesterreichischen allgemeinen Aufgebothes. Representation des differens corps de l’insurrection generale d’Autriche. Vienna,T. Mollo, 1797.

2 parts in 1 volume, 4to, 62 folding (36 fully and 23 partly handcoloured, 3 black and white) and 22 full-page handcoloured engraved plates with military costumes of the infantry and the cavalry, military equipment, flags, parades, etc. Contemporary full marbled calf gilt, blue marbled endpapers. Jahns II, pp.500-410; Brunet V 174; Graesse VI 286; Lipperheide 2111.

Small 4to, 14 handcoloured aquatint plates, plus 6 additional plates (1 with medal and ribbon, 5 engravings of other Austrian military costumes). Later three quarter red leather with marbled sides, original printed wrappers, red slipcase. Colas 4; Cat.DeRidder 476; not in Lipperheide or Kat.Berlin.

1153

MOLTZHEIM, A. de La nouvelle armee francaise. Paris, Dusacq et Cie, n.d. [1875]. Folio, 32 chromolithograph plates loose as issued. Original black cloth-backed boards, black cloth ties. Colas 2121; Lipperheide 2331; Glass 326 & 327.

1151

274

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1152 THE

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1154

[NAPOLEON]. Carnet d’un Voyageur ou Recueil de Notes Curieuses sur la Vie,, les Occupations, les Habitudes de Buonaparte a Longwood. Paris, Chez Pillet Aine, 1819. 8vo, 3 handcoloured aquatint plates. Printed cream colour original wrappers, later red cloth folder and slipcase. Abbey Travel 313.

1155

RAMM, August Leopold. Abbildungen von allen Uniformen der Koenigl. Preuss. Armee unter der Regierung Sr. Majestaet Friedrich Wilhelm III. Berlin, J F Unger, 1800. 2 parts in 1 volume, 8vo, engraved title, 143 handcoloured engravings by A.L. Ramm; heightened in gold and silver. Bound in contemporary calf gilt. Lipperheide 2154 (title & 142 plates); Colas 2482 (calling for engraved frontispiece and engraved title, 143 plates); Hiler 734 (142 plates).

Military uniforms of the regiments and corps under King Friedrich Wilhelm III.

1156

RASPE, G.N. (editor). Receuil de toutes les troupes qui forment les armees francoises dessines et illumines d’apres nature. Nuremberg, Gabriel Nicolas Raspe, 1761.

1154

Small 4to, elaborate engraved baroque title, nos. 1-222 handcoloured engraved plates of military uniforms, heightened in gold and silver and slightly gouached (this including title), plates supported by two figurines, descriptive notes engraved at foot of each plate, 13 of the plates displaying a single figure, others each with two figures, 3pp. index, contemporary mottled calf, spine gilt in compartments, raised bands. Cohen de Ricci 862; Colas 2509; Glasser pp. 369-374 giving a list of the plates; Destailleur 1891 No. 429; Lipperheide 2295...

The plates of the “Maison du Roi” are reduced from plates by Eisen. The other plates each represent a soldier and an officer from each regiment, giving the name of the colonel or the officer in charge of the camp, the number of battalions, the number of men, the date of its creation and how the regiment was ranked.

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1156 THE

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1157

REINAGLE, George Philip. Illustrations of the Battle of Navarin. London, Colnaghi, 1828. Folio, 2pp. description of the plates, subscription list, uncoloured lithographed battle plan, 12 handcoloured lithographed plates by Charles Hullmandel after Reinagle, showing ships in action. Bound in 19th century half calf, red morocco label gilt on upper cover, preserved in cloth box. GL; Blackmer 1403 (for Italian edition); not in Atabey, nor Weber; Droulia 1591.

This Colnaghi edition was published in the same year as the first Italian edition. Reinagle was a marine painter from a family of R.A.s; his father was one of the artists who produced works for the famous Panorama in Leicester Square (see Barker’s Panorama of Constantinople). Reinagle was present at the battle of Navarino on HMS “Mosquito”.

1158

SAINT-HILAIRE, Emile Marco de. Histoire Anecdotique Politique et Militaire de la Garde Imperiale par Emile Marco de Saint-Hilaire. Illustree par H. Bellange, E. Lami, de Moraine, Ch.Vernier. Musique des Marches et Fanfares de la Garde, transcrite par Alexandre Goria. Paris, Eugene Renaud et Cie, Editeur, (typ. Alexandre Bailly), 1847. Tall 8vo, 2ff. (tables and list of subscribers), 712pp., including 12pp. musical arrangements, 50 plates unnumbered (7 on steel, four on wood, 29 handcoloured woodcut plates after H. Bellange, E. Lamy, de Moraine, Ch. Vernier), 19th century half morocco over boards, spine flat, gilt ruled and lettered. Colas 2620; Brivois, 388; Glasser 295-297; Ray; Vicaire VII, 23. Colas describes a German edition of 1848 in three volumes (Colas 2621).

One of the group of illustrated works perpetuating and enhancing the Napoleonic legend, which had grown following his exile. By this time the Napoleonic Imperial Guard was a legend in its own right. 1157

1158

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1159

SCHETKY, John Christian. A Series of FourViews, to illustrate the naval action fought on the first day of June, 1813 between the English Frigate Shannon, and the American Frigate Chesapeake [...] London, Smith, Elder & Co., 1830. Large oblong folio, one leaf of descriptive text, four handcoloured lithographed plates by Louis Haghe after paintings by J.C. Schetky Esq., under inspection of Captain R.H. King RN, preserved in blue straight grained morocco gilt, original blue wrappers bound in. Bits and Pieces of American History, pp. 177-183; Parker Naval Battles, pp. 244-245; E.N. Smith, American Naval Broadsides, pp. 177-183.

Schetky, of Edinburgh and London, received drawing lessons from Alexander Naysmith, Professor of Drawing at the Royal Naval College. He also became Marine Painter in Ordinary to George IV and later to Queen Victoria, frequently sailing on the royal yacht. The Frigate “Chesapeake” left Norfolk, Virginia for the Mediterranean under the command of James Barron in June 1807. In the War of 1812 it was refitted, and under the command of James Lawrence engaged the “Shannon” outside Boston harbour. Lawrence was killed, but his last command to his crew was, “Don’t give up the Chesapeake.” When the battle went against them, however, they were unable to obey his last command, and the ship was subsequently captured. This was the most famous frigate action ever recorded. By this time steam had entered into the equation (seen in at least one of the plates).

1160

SCHUBAUER, F [and] J. TRENTSENSKY. Darstellung der Koeniglich-saechsische Armee nach ihrer verschiedenen Waffengattungen. Sr. Koniglichen Hoheit dem Prinzen Friedrich August Mitregenten und Herzog zu Sachsen in tiefster Ehrfurcht gewidment von dem herausgeber Pietro del Vecchio in Leipzig. Leipzig, P. del Vecchio; Vienna, J. Trensensky, lithographer, [1842]. Large oblong folio, title, 9 unnumbered handcoloured lithographed plates, original lithographed wrappers. Colas 2693; Vie Millet 1904; Hiler p. 787.

Highly attractive plates representing various soldiers in groups, each with imprint beneath: F. Schubauer, n.d.N., at.gez E Lith. J. Trentsensky in Vienna. Trentsensky’s military plates are famous not only for their splendour but for their accuracy. 1159

280

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1163

STRASOLDO, Rambaldo. Regolamento generale, e particolare per il corpo delle bande. Florence, G. Gambiagi, Stampatore Granducale, 1796.

WALKE, Henry. [Naval Portfolio]. New York, Sarony and Major, 1848,

Folio, 64 contemporary handcoloured illustrations on 32 engraved plates; 12 uncoloured illustrations on 32 plates; 2 folding letterpress tables. Contemporary half vellum and marbled boards; engraved coat of arms on title. Olschki Choix 7636; not in usual references.

Folio, 8 coloured lithographed plates, housed in modern navy morocco backed linen box. Not in Colas.

1164

A detailed work on military rules and instructions.

WARRE, General, Sir Henry James. Sketches in the Crimea. [London] Dickenson Bros, 1856.

1162

VERNET, H[orace and Carl] [and] LAMI, Rugene. Collection des uniformes des armees francaises, de 1791 a 1814. Dessines par Horace Vernet et Eug. Lami. Paris, Gide fils, (impr. lithogr. De Delpech), 1822-[23].

Oblong 4to, 16 handcoloured lithographed plates, later polished calf. Not in Abbey Travel; OCLC cites three copies (Brown University, V&A Museum, National Gallery of Ireland).

8vo, ff., half title, title, xv pp. (introduction), text to accompany the plates, 100 handcoloured lithographed plates, contemporary red morocco backed boards. Benezit; Colas 2987; Brunet V, 1144; Glasser pp. 253 a 257 gives plate list of 99; Lipperheide 2308; Vicaire, II, 909 mentions 101 plates.

The plates are printed on very slightly tinted paper and carry the imprint I. lith. de Delpech and signed by Lami, H.V. for Horace Vernet and Carle Vernet.

1161

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WOLF, Jeremiah (publisher). Repraesentatio Belli ob successionem in Regno Hispanico auspiciis.Trium Potentiss. Invictis, et Gloriosiss, Caesarum Leopoldi I. Joseph I et CaroliVI. Intra 14 Annos victoriosis armis et progressibus usqu ad Pacem Badensem. Augsburg, Heirs Jeremiah Wolf, 1714.

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Large folio, on strong watercolour paper, initial blank, ornate copper engraved title, surmounted with Imperial eagle, beneath title all the accoutrements of war, 2pp., double column of text dated 1714, 56 engraved plates coloured (au burin), each plate within a different ornamental border and surmounted by a cartouche, showing a plan of the battle or siege under consideration, captioned in a second cartouche beneath the plate. The plates in honour of the allied armies of the Emperor against Louis XIV, the introduction to this issue in German, which indicates that it is the first issue (there is another issue with the introductory text in Italian), contemporary richly decorated binding. Brunet V, 626.

1165

The work includes 56 remarkable copper engraved plates, each showing a different action, either naval, or land, during the prolonged campaign, each plate surrounded by a different baroque border, including allegorical and actual groups of articles of war, and supporting figures, both male and female. The plates were the work of the Augsburg group of artists, at this time including Paul Decker and George Philipp Rugendas, who made the sketches for this set of images of battles, engraved famously by Johann August Corvinus, and also by Johann Jacob Kleinschmid, Karl Rembshart, Martin

Engelbrecht, Georg Heinrich Schifflin among others. Brunet suggests an end to the work at the time of the Coronation of Charles VI as Holy Roman Emperor, December 1711. Our suggested date, post 1724, relates to the death of Wolf in 1724. The imprint reads Heritiers de Jeremias Wolff, therefore publication must have been after 1724. Brunet states that there was an initial â&#x20AC;&#x153;tirageâ&#x20AC;? of at least twenty plates from this work with the text in German, presumably for presentation. THE

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286

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1167

[YUNG, M.] Album de vingt batailles de la revolution et de l’empire d’apres les aquarelles de M.Yung Paris, Henri Plon, [1860].

ZEZON, Antonio. Tipi militari dei differenti corpi che compongono il reale esercito e l’armaa di mare di S.M. il Re del Regno delle Due Sicilie. Napoli, 1850-1854.

Oblong folio, 20 colour-engraved plates with additional handcolouring. Bound in embossed black cloth, gilt on upper cover.

Small folio, 85 tinted lithographed plates with additional handcolouring including 2 pictorial title pages. Contemporary black morocco gilt, spine lettered in gilt. Complete edition of a scarce work. Colas II 3114. THE

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1168

SPORTING, PASTIMES & SATIRE 1168

[ACKERMANN, Rudolph]. Sporting Scraps. London, Rudolph Ackermann, [1850-1861]. Small oblong folio, 36 handcoloured aquatint plates comprising Shooting Scraps, 1850; Steeple Chase Scraps, 1850; Hunting Scraps, 1850; Coursing Scraps, 1850; Coaching Scraps, 1850; and Deer-Hunting Scraps, 1850; Coursing Scraps, 1850; Coaching Scraps, 1850; and Deer-Hunting Scraps, 1850, each with one plate by Harris after Alken, in total 12 series of plates in one volume, plates lithographed by Thierry Freres, contemporary calf stamped in gilt. Silzer pp. 65-67.

288

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1169

Panidocheme ou toutes sortes de voitures. ADAM, Jean-Victor-Vincent.

Paris, Imprime et publie de L.L.A.A.R.R. les Monseigneur le Duc d’Orleans et de Monseigneur le Duc de Chartreal, 1828. Oblong 4to, 36 handcoloured lithographed plates, the last plate with two images, original wrappers bound in, upper wrapper lithographed forming title, contemporary half brown cloth, upper cover with blue morocco label gilt. Ex libris A. Vautier. Menassier, p. 6.

A retrospective exhibition of engravings and “lithographes d’attelage” was held in 1900, exhibiting ancient coaches, and included many of Adam’s lithographs and engravings both in black and white and in colour (Menassier).

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1170

ADAM, Jean-Victor-Vincent. Suite de 24 lithographes en couleurs sur le cheval. Paris,Aumont Jn, Bulla fils & Francois Delarme [1837-1839]. Oblong folio, 1p., 18 large plates, all depicting horses, several ridden by horsemen of various nationalities, No. 7 gilt ruled, all bound in one album, contemporary calf backed boards. Beraldi XIXe; Mennassier.

None of Adam’s works are present in the Mellon Collection. His images of horses could almost be described as portraits for the strength and individual animation and attraction he imparts to them. His name deserves pride of place in any bibliography of equine works. Victor Adam’s horses represent all breeds, from Boulonais to pure breeds, which are often elegant and gracious. However, it has also been written that the anatomy of Adam’s horses is imprecise or even fantastic; their elegance is often obtained by the exaggeration of the vertebrae and the attachment of the head and shoulder. This has often been said to be the weakest point in his compositions. But it should be added that Adam was considered to excel in his studies of persons of other nationalities, includingTurks, whom he depicted as grooms in one or two of these plates to great artistic effect.

1171

ALKEN, Henry (artist). Pigeon Shooting. London, Benjamin Barling, n.d. Small 8vo, original folding plate after Alken, blue wrappers, the booklet contains a key to plate of pigeon shooting. Not in Schwerdt’s section on shooting, nor other usual bibliographies; obviously extremely scarce.

Alken was sporting artist, engraver and illustrator. He came from a family celebrated for its sporting artists and engravers. He is said to have worked as a trainer for the Duke of Beaufort before studying under J.T. Barker Beaumont, the miniaturist, and he exhibited miniatures at the Royal Academy in 18012. He moved to Melton Mowbray in 1810 to train horses and eke out a livelihood in decorating trays with hunting scenes. His success really began when he issued prints under the name of “Ben Tally Ho” in 1813, and he was at his most prolific in the 1820s and 1830s. His work was less interesting after that date and he died in poverty on 8 April 1851. His son, H.G. Alken, copied his father’s work extensively. Alken’s illustrations and separate prints are lively and very colourful and are closer to 18th century caricature in the way they depict the mishaps of hunting in the same format as scenes of the chase (it is not insignificant that his publisher was Thomas M’Lean of “The Repository of Wit and Humour”). Shaw Sparrow considers that Alken was most influential in creating a medium in which Phiz, Leech and Caldecott could flourish. His Sketchbook (1823) and Scrapbook (1824), their pages crammed with nearly related but separated incidents, may have influenced strip stories in the Victorian magazines. His drawings are most often seen in soft pencil with colour washes. 1170 THE

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1174

ALKEN, Henry. Scraps from the Sketch Book of Henry Alken, Engraved by Himself. London,Thomas M’Lean, 1823.

ALKEN, Henry, artist [and] Charles James APPERLEY. Memoirs of the Life of the Late John Mytton, Esq. of Halston, Shropshire; formerly M.P. for Shrewsbury; High Sherriff for the Counties of Salop and Merioneth, and Major in the North Shropshire Yeomanry Cavalry. With Notices of the Hunting, Shooting, Driving, Racing, and extravagant Exploits, by Nimrod. London, Ackermann, Eclipse Sporting Gallery and New Sporting Magazine Office, 1835.

Oblong 4to, 42 handcoloured aquatint plates, without captions, dated 1820, red straight grain morocco gilt. Not in Tooley; but bound with plates from Tooley 37 and 57.

1173

ALKEN, Henry. A Few Ideas; Being Hints to All Would-Be Meltonians. London,Thomas M’Lean, 1825. Folio, 12 handcoloured aquatint plates. Original printed wrappers. Tooley 26; Schwerdt I, p.13.

First edition in book form. 8vo, frontispiece, [i] title page; [ii] note on the edition printer’s imprint; [iii]–iv, table of contents; preface, [1]-110 pp. text, 12 (including frontispiece) handcoloured plates printer W. Spiers, original brown cloth, title in gilt. Abbey Life 385; Tooley 67; Schwerdt I, 38; Franklin 43-44; Mellon, Books on the Horse, 147.]

The Bobins Collection already has a second edition of this work with six additional plates (seeVol. II). However we are including this first edition, which is notoriously difficult to locate. This work was initially reprinted from the New Sporting Magazine.

1173

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1175

AUBRY, Charles (artist). Histoire pittoresque de l’equitation ancienne & moderne dediee a M.M. les Officiers – Eleves de l’ecole royale de cavalrie. Paris, Ch. Motte Imprimerie et Publiee Paris, Saumur, Degony, 1833-34. First edition. Folio, two parts in one volume, 24 handcoloured lithographed plates of riding, one with diagrams, text with marginal vignettes, these two leaves in red and black, 20 handcoloured lithographed plates of riding through the ages, final text leaf in red and black, contemporary maroon calf backed boards, spine flat and gilt. Hiler 53.

1176

BARRENGER, James. New Invented Borders for Rooms [...] Representing Field Sports in Great Variety. London, 1809-10. Oblong folio, 28 aquatint plates, contemporary wrappers, new tan cloth box with burgundy morocco label. Siltzer p.79; Mellon p.43. 1175

1176

294

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1177

BAYNES, Thomas Mann. The Adventures of a Fox by Moonlight. London, R. Ackermann, 1 February 1836. Oblong folio, 6 handcoloured lithographed plates by and after Baynes, printed by C. Hullmandel, interleaved, tipped in provenance, “Anderson’s March 15, 1910”, half calf, original wrappers bound in. Snelgrove, Mellon Collection, Baynes I.

A charming series of plates, originally issued with the upper wrapper as title page. The verse narrative is lithographed beneath each plate, which are on woven paper without watermark. A scarce work, no copy at auction since 1989.

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1181

1178

1179

BLAKE, C. The Poacher’s Progress. [London], 1836.

FRANKLAND, Sir Robert. Eight Representations of Shooting, Engraved by Woodman & Turner from Drawings by Robert Frankland Esq. published 1813 by W.D. Jones of Cambridge, the coloured engravings in original soft backed cover, marked in ink “W. Ward Jackson Esq.” Cambridge, W.D. Jones, 1813.

Oblong folio, 8 plates showing scenes of poaching from C. Blake, engraved by Charles Turner, modern half morocco. Schwerdt II, 72b.

First edition. Small oblong folio, engraved vignette, title highlighted in yellow, 8 handcoloured aquatint plates by Woodman and Turner after Frankland, four-flap enclosure of brown cloth with brown leather label. Tooley 230; Schwerdt I, p. 186.

A rare set of plates showing shooting mishaps, poking fun at the gentleman hunter. A scarce set of amusing sporting incidents. In draftsmanship and colouring they are superior to “Indispensible Accomplishments.”

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1180

FRANKLAND, Sir Robert. The Southern Hounds. London, J. Watson,Vere Street, 1813-1815. First and only edition. Oblong folio, 7 handcoloured aquatint plates. Full green morocco gilt by Riviere. Schwerdt II, p.168; Siltzer, p.121; not in Jeanson or Tooley.

1181

HERRING, John Frederick Portraits of theWinning Horses of the Great St. Leger Stakes, at Doncaster from theYear 1815 to the presentYear inclusive. London, S. & J. Fuller, at their Sporting Gallery, Printed by L. Harrison, n.d. [1843]. Large folio. Second Series, title, text of winners (1p.), and complete series of 29 aquatint plates, half brown morocco and pebbled cloth, morocco label on upper boards. A scarce work, rarely seen at auction. Tooley 261; Siltzer, pp. 145-146; Mellon/Snelgrove pp. 93-96 cf. Tooley 261. The finest early 19th century series of racehorse portraits by one of the greatest sporting artists of the day, which includes the St Leger Winners up to 1843. Herring was born in London in 1795 and eloped in 1814 to marry in 1815. He had taken up the occupation of coach painter and soon graduated to coach driving, taking the “High Flyer” on its daily run from Doncaster to London. By 1816 he gave up driving to concentrate on his horse painting, and soon received many commissions for portraits of hunters and racehorses. His first exhibit at the Royal Academy in 1818 was a dog, but soon horses took over. In 1825 the Doncaster Gazette commissioned Herring to paint a series of winners of the St Leger, most portrayed retrospectively rather than from life, and issued in this format for a small number of select subscribers. Leaving Doncaster for Newmarket in 1830 and going to London in 1834, he became in time the foremost exponent of horse painting of his day. The first series of plates (1-13) and the second series which is present here (1446; this count includes additional St Leger winners and Derby winners dated 1838-1843) are all after paintings by Herring. Plate No. 16 was engraved by G. Reeve; the others by C. Hunt. Tooley remarks “extremely rare.” First plates in the second series are dated 1830.

1182

HOWITT, Samuel. Fox Hunting. London, S. Fores, 1794-1799. Oblong folio, 6 handcoloured aquatint plates, each mounted on modern paper, bookplates of Clarence S. Bemens and Joseph Widener, half red morocco gilt over red cloth by Zaehnsdorf. Siltzer, p. 163; Parke-Bernet, Widener Sale, Nov. 1944, Lot 242.

1183 1183

HUNT, Charles. [Portraits of Winning Horses: A Series of Portraits of the Winners of the Derby, Oaks, & St Leger, From the Year 1842 to 1849. Drawn from Nature and Engraved by Charles Hunt Esqr.]. London, Rock Brothers & Payne, 1849. 8vo., 12 handcoloured aquatint plates, depicting race horses, contemporary half green calf over tan boards with original printed wrappers bound in. Abbey Life 336 (cites 17 plates with some trimmed); Colas 1504 (cites 12 plates); Silzer, p. 166; Lane II, p. 37; Mellon Collection for oil painting by Hunt.

The complete set would originally have been 24 plates (depicting the winners of the three races over 8 years) in the volume published by Rock Brothers & Payne in 1849, though Siltzer and Lane record only 22.

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1184

HUNT, Charles. Portraits of Winning Horses. London, Rock Brothers & Payne, 1849. Small 8vo, 22 handcoloured aquatint plates on 11 leaves. Full contemporary morocco by Riviere, blue calf doublures, gold stamped equestrian decorations, watered silk doublures. Bookplate of Fitz Eugene Dixon. Siltzer p. 166; Lane II, p. 37.

Series of portraits of winners of the Derby, Oaks, and St Leger from the Year 1842 to 1849.

1185

LAMI, Eugene. Panorama du Bois de Boulogne.Album compose de douze lithographes a la plume [...] Aris, Delpech, 1828. 4to, 12 (but usually 10, see below) handcoloured lithographed plates showing the many different forms of transport used in the Bois du Boulogne, original lithographed wrappers with decorative border bound in, modern half morocco over marbled boards. Lemoisne p. 375.

“This set of 12 lithographed plates is almost always found incomplete, ‘Le cheval irlandais’ very often lacking. As for the first plate it is regarded as unfindable, so this an almost unique copy. We only know of one album with 12 plates, and that is in the collection Rahir” (Lesmoisne). Lesmoisne adds that plate 1 of that particular copy, “Vallet d’Atelage”, is in a different format and bears the name Vilain as lithographer instead of that of Delpech, which is given on the other 11 plates. It is not clear whether it was a change in format or an accident which explains the great rarity of this plate.This copy has plates as follows:Valet d’Attelage; Le Harnais neuf; un Marchand de Chevaux anglais; une Course particuliere au Bois de Boulogne; un Tilbury au Bois de Boulogne; un Coupe au Bois de Boulogne; Duel au Bois; la Grande Allee au Bois; Une Averse au Bois; Chevaux de Louage au Bois; Un Cheval Irlandais; la Partie d’Anes au Bois.The early bibliographies for both Lami and Monnier all state that their lithographs were “a la plume”, a manner of lithography best suited to taking watercolour.

1186

LAMI, Eugene. Tribulations des gens a equipages. Paris, Delpech, 1827. Oblong 4to, 6 handcoloured lithographed plates after Lami, upper wrapper bound into modern calf backed boards. Hilmy p. 523; Lipperheide 3656. Sotheby’s Monaco 1982 (Graffhule collection, see above for other works from this famous library).

Gently amusing set of plates showing the disasters to which people in their horse-drawn vehicles are susceptible. 298

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1187 1187

[RAWLINS, T.]. The Meltonian; or, the pleasures of the chase developed elucidating a modern system of fox-hunting, as followed up in that Prince of Hunting Establishments Leicestershire… more especially illustrating…the celebrated Quorn Hunt […] by the Author of “The Deccanite, or Hog-Hunter of India”. Dedicated to Sir Edward Joseph Smythe, Baronet and the Shropshire Hunt. [Trinchinopoly], 1833. Folio, 34 leaves comprising frontispiece watercolour, additional title in grisaille, title page, dedication and text and 30 original watercolours in oval format with manuscript plate number. Red morocco gilt by Morrell for Schwerdt. Provenance: Rt.Hon.The Earl of Carrington (Christie’s sale, 1896)-Sir William Bass (bookplate, Sotheby’s, 1913)-C.F.G.R. Schwerdt (bookplate, his sale 14 March 1946, lot 2243)-H.R.H. Prince Henry Duke of Gloucester (1900-1974, Christie’s sale, 27 Jan.2006, lot 708). Schwerdt II, pp.344-346.

1188

REMINGTON, Frederick; FROST, Arthur Burdett [and others]. Sport, or Fishing and Shooting. Boston, Bradlee Whidden, 1889 [-1890]. Large folio, 15 chromolithographed plates after Frederick Remington (2); A.B. Frost (1); Henry Sandham (4); Frank H. Taylor (1); Fred S. Cozzens (2); R.F. Zogbaum (2); S.F. Denton (2); and Edward Knobel (1); contemporary blue half cloth, red cloth sides, modern red morocco-backed cloth box with sporting motifs in compartments.

Frost, who operated in Pennsylvania and California, was an illustrator of the outdoors and specifically of animals, although his most prolific years were, in fact, in New Jersey. He was considered one of the great illustrators of the “Golden Age of American Illustration”, contributing illustrations to more than 90 books. Frost’s illustrative work chronicles the mood and details of the daily life of farmers and motifs of pastoral New England. He is probably best known for his hunting and shooting prints, capturing the drama of sport in realistically detailed settings.

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1191

ROWLANDSON, Thomas. [Rustic Sketches, 1787]. London,T. Rowlandson del., 1787.

[ROWLANDSON, Thomas; BUNBURY, Sir Henry William]. An Academy for Grown Horsemen; containing the Completest Instructions for Walking, Trotting, Cantering, Galloping, Stumbling, and Tumbling. The Annals of Horsemanship [...] Illustrated by Rowlandson. London, Printed for Vernor, Hood, and Sharpe; Longman Hurst, Rees and Orme; J. Walker and J. Harris, 1809.

Oblong 4to, 8 handcoloured etchings by Rowlandson, grey wash borders, now mounted onto later album leaves, tan polished calf gilt, gilt edges. Grego I, p. 212.

Plates executed partly in imitation of Rowlandson’s sometime friend George Morland. Three years previously Rowlandson had produced 9 illustrations of carriages and other horse-drawn vehicles for Jackson’s The Rhodarium. Here he displays these coaches, carts and chaises in a variety of rural settings.

1190

[ROWLANDSON, Thomas - BUNBURY, Sir Henry William]. An Academy for Grown Horsemen […] By “Geoffrey Gambado”. London, 1809. 2 parts in 1 volume, 8vo, 29 handcoloured etched plates by Rowlandson. Original drab boards, letterpress label on spine, new navy cloth clamshell box. Not in Abbey or Tooley.

First 8vo edition, [A]2, B-I8, K6; 72 (11)pp., [2 leaves], [1] 2140, plate; frontispiece; [A] title page [A] printer’s imprint; [A] directions to binder [A] blank; [1]-2 dedication; [3] note to the “Editor”; [4] blank verso; [5]-7 preface; [8] blank verso; [9]-17 intro; [18] blank verso; plate [19]-50 text; plate [51] section title; [52] blank verso; [53]-140 text of “Annals of Horse-manship”, plate and 25 plates, 140pp., 29 handcoloured aquatint plates by Rowlandson, printed by W. Wilson, all re-engraved for this edition, contemporary calf. Mellon, Books on the Horse and Horsemanship, 90. Not in Abbey or Tooley.

Rudolph Ackermann was to establish lithography in England as a fine art with his caricatures and illustrated books. Among the earliest he published was Bunbury’s Academy of Grown Horsemen … by Geoffry Gambado, Esq. Bunbury was a sportsman, caricaturist and writer who was already known for his admirable chalk drawings of scenes in real life. Most of his works were engraved by other artists as here, on this occasion Rowlandson.

1192

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ROWLANDSON, Thomas. Annals of Sporting by Caleb Quisem and his various correspondents. London,Thomas Tegg, 1809.

SEYMOUR, Robert. Seymour Sketches, Illustrated in Prose andVerse by Alfred Crowquill [pseudonym of Alfred Forrester]. London, n.d. [c. 1838?].

12mo, handcoloured folding etched frontispiece, vignette title,27 etched plates by Rowlandson and Woodward. Modern boards with original printed wrappers mounted on covers. Schwerdt II, p.119.

4to, 3 parts in one volume, 3 handcoloured vignette titles, mounted on leaves within a red ink double rule, 48 plates handcoloured etched plates these mounted, titles included in plate count, top edge gilt, 19th century dark half green morocco gilt over green cloth boards, silk marker ribbon, armorial bookplate of Prince Henry, Duke of Gloucester, 1900-1974. Schwerdt II, pp. 157-159 (describing an 1935-36 edition of Sketches of Seymour published by G.S. Tregear in five volumes, with five etched titles and 180 etched plates).

1193

ROWLANDSON, Thomas. Advice to Sportsmen, Rural or Metropolitan [...] London,Thomas Tegg, 1809. 12mo, 16 handcoloured etched plates by Rowlandson. Original boards rebacked. Schwerdt II, p.14; Tooley 407.

Although he did produce some oil paintings, Seymour was primarily a book illustrator. He was versatile and his works include Demosthenes, Shakespeare,Wordsworth and others. He could work with great rapidity and at a very low price. He turned his attention to etching on copper, but from 1831 his enormous artistic output returned to lithography. He was for a long time a keen sportsman, and it was he who suggested to publisher Chapman a series of Cockney sporting prints. His reputation took off, sadly, near the end of his life, with Part I of Pickwick Papers, which he had illustrated secured his place as a graphic humorist.

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1195

SMITH, Charles Lorraine. [The Pytchely Hunt]. London, H. Humphrey, 1791. Oblong folio, handcoloured aquatint portrait of Dick Knight, three watercolour vignettes to each side, set of 8 handcoloured aquatint plates by Francis Jukes after Smith mounted within gilt borders. Early 20th century red morocco gilt, cover titled in gilt, floral pattern in gilt, red silk endleaves. Provenance; C.F.G.R.Schwerdt (bookplate, his sale 19 June 1939, lot 824). This set is the second of the two earliest states, with imprints dates 1 May, 1791. Schwerdt III, p.89; Siltzer, British Sporting Prints, p.255.

1196

SPENCER, Thomas. [Horses and Pedigrees]. London, John Cheny, 1740-1746 [OR] Thomas Barker, 1751-1755. First edition. Oblong folio, 34 plates of racehorses, engraved by H. Roberts, Parr and Canot after T. Spencer, each portrait surrounded by engraved text, without title, contemporary leather-backed boards, red morocco label on upper cover, folding cloth box. Sparrow, British Sporting Artists, p. 77; not in Schwerdt or Huth.

This very rare set of racing prints was engraved by H. Robert, Parr and Canot after T. Spencer. Sparrow notes its rarity in 1922: “rare, no doubt, because so many copies have been broken up in order that prints might be sold one by one” (W.S. Sparrow, British Sporting Artists). Apparently no copy in BL; last copy at auction sold in June 1955, £36. Thomas Spencer (1740-56) was a painter of horses but details of his career are obscure.Vertue calls him “a scholar” of James Seymour, to whom perhaps much of Spencer’s unsigned work has been attributed. He was possibly an assistant to Thomas Butler, bookseller and publisher of sporting prints and occasional painter of horses. Some of Spencer’s horses were engraved, with Seymour for publisher, in sets of racehorses with their pedigrees, in 1740s and1750s. On Seymour’s death, Vertue took exception to a paragraph in a newspaper: “pufft to the highest for drawing horses – but this was to notify a scholar he had named Spencer, who follows” (Mellon; see Seymour below).

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COLLECTION OF FOUR OF SURTEES WORKS

1197

IN RARELY FOUND ORIGINAL PARTS COMPLETE WITH ADVERTISEMENTS Sir Charles Frederick, Bart wrote in his Fox-Hunter’s Bookshelf of Surtees: “In popularity Surtees undoubtedly took first place still […] Handley Cross, it is generally admitted, deteriorates towards the end of the book and I daresay many of us prefer to turn back ere we get thus far and meet our hero when he arrives to take over the hounds.” 1197

1198

[SURTEES, Robert Smith]. Mr Sponge’s Sporting Tour. London, Bradbury and Evans, 1853.

Handley Cross. London, Bradbury and Evans, 1854.

First edition 12 original parts. 8vo, 24 handcoloured plates and other illustrations by J. Leech and H.K. Browne. Part 11 lacks advertisement for Allsopp’s Pale Ale; also lacking Levers Martin & Co. slip, but with Mr and Mrs Asheton’s slip; other ads called for by Tooley present. Tooley 476.

John Leech, artist and illustrator, was born in London on 23 August 1817.The son of a vintner, he showed a remarkable aptitude for drawing from an early age and eventually abandoned a career in medicine to become an artist. He became firmly established in 1840 when he joined the staff of Bentley’s Miscellany, contributing over 140 etchings to the magazine. He contributed his first block to the newly established satirical journal Punch in August 1841. Leech’s art was ripe for this type of pictorial satire, and within a few months he had made it his own, establishing a convention of social humour that was to last until the 1920s. From 1843 Leech shared the cartoons with Tenniel, completing no less than 720 before 1853. But his strength was in the drawings of the hunting field and London fashion, epitomised in the characters of Tom Noddy and Mr Briggs. Extravagantly praised by Ruskin, Leech’s often careless but never crude drawings have survived in charm and humour to give us a refreshing glimpse of mid-Victorian society. 304

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First edition in 17 original parts, 8vo, 17 coloured plates and 84 wood-engraved vignettes, by John Leech, part 11 lacks 4pp. insert for Foreign Tour, part 15 lacks insert for English Cyclopedia, other advertisements called for by Tooley present, original pictorial orange-brown wrappers, chemise and slipcase. Tooley 473. 1199

“Ask Mamma”; or, the Richest Commoner in England. London, Bradbury and Evans, 1858. First edition. 13 original parts in 12. 8vo, 13 handcoloured plates and 69 wood-engraved vignettes by John Leech, all advertisements by Tooley present, original pictorial orange brown wrappers, cloth chemise and slipcase. Tooley 472.

1200

1203

“Plain or Ringlets?” London, Bradbury and Evans, 1860.

WOODWARD, George Montard [and] Thomas ROWLANDSON. Horse Accomplishments. London, R. Ackermann, 1799.

First edition. 13 original parts in 12. 8vo, 13 handcoloured plates, 44 wood-engraved vignettes by J. Leech, other advertisements called for by Tooley are present. Tooley 477.

1201

THORNHILL, R.B. The Shooting Directory by R.B. Thornhill Esq. Vide Lege Crede. London, Longman, Hurst, Rees, and Orme, 1804. 4to, half title, title, verso imprint J. Browne, Bath, to Subscribers pp. (xi), title page (xvi), contents leaf, Introduction (i-ix), blank (x), text pp. 1-432, technical terms, 1 leaf, index and errata 2 ll., uncoloured aquatint frontispiece, six single aquatint plates engraved by T. Melland, two uncoloured plates illustrating the Manton Patent Breech, no signature or imprint, three folding tables, dark green morocco, gilt ruled. Abbey Life 393; not in Tooley; Schwerdt IV, p. 93 (1); Prideaux p. 354

In the majority of copies pp. 215-220 are cancelled out, it being evident from the text that the author had been a little too outspoken over a controversy concerning the patent breech that arose between Mr Manton and the Duke of Richmond.

Oblong 4to, 12 handcoloured aquatint plates after Woodward, sketches by Woodward, engraved by Rowlandson with Ackermann imprint, dust red morocco gilt, borders in blind, original wrappers bound in. Abbey Life 397; Prideax p. 350; Lewine I, p. 480; De Ricci, The Book Collector’s Guide, pp. 471, 641; Grolier Club Catalogue No.54. However, this work remains exceedingly rare. Two copies at auction in the last 38 years: The Witney copy at Sotheby’s 1999 and a previous copy at Christie’s in 1977, neither in original wrappers. OCLC & KVK locate only two copies in the Houghton Library, Harvard and Princeton.

Woodward was a caricaturist and author. After his caricatures caused a stir in his local Derbyshire, he persuaded his father to allow him to go to London. It was only in 1790 that he finally made his mark on the London scene, but thereafter his output was enormous. The British Museum catalogues a list of 525 examples of his work created over the ensuing 20 years, published by Holland, Fores, Ackermann and latterly Tegg, all leading printsellers. These prints by Woodward were etched by Rowlandson, Isaac Cruikshank, Roberts and Williams. Woodward’s original drawings were vigorous and his value was said to lie in his humorous ideas. He gave each horse a character: Astronomer, Whistler, Politician, Civilian, Arithmetician, Loiterer, Minuet Dancer,Vaulter, etc. He lived a dissolute life and died in a tavern in 1809.This work not listed in House.

1202

VERNET, C[arle] [and] Horace. Recueil de chevaux de tous genres dessine par Carle et Horace Vernet et graves par Levachez. L’editeur propose de donner dans ce recueil des compositions de chevaux de diverses especes et attitudes chevaux militaires, Mameluck, hunters, racing and manege with figures appertaining both male and female. Paris, rue S. Lazare, Chaussee d’Antin No. 42, [1794-1807]. Oblong folio, lithographed title with handcoloured vignette of galloping horse, 15 numbered plates lithographed and handcoloured, Series 1-4 (12 plates in each series), no. 4: name of artist and engravers on each plate plus address of publishers, the serial and plate numbers, total of 8 plates mounted, majority of plates dismounted, 48 handcoloured lithographed plates after Vernet and engraved by Levachez, later green crushed morocco gilt. Mellon, Books on the Horse, 99; Schwerdt Vol. II, p. 281; Menassier (mention of tableau historique de la Revolution at the same address).

A group of these plates show sportsmen hunting with guns on horseback. Horace Vernet, son of Carle Vernet, was responsible for the majority of these plates. Carle was renowned for his images of horses. The work was also published on satin paper (Paris rue St Lazare, Chaussee d’Antin, with mention of tableau historique de la Revolution at the same address). 1203 THE

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Bibliography of Principal References

ABBEY, JR. Travel in aquatint and lithography, 17701860 from the library of, J.R. Abbey. A bibliographical catalogue. London, 1956-7, (reprint 1972).

BOUCHER DE LA RICHARDERIE, Gilles, Geneva, 1970. 6 vols, 8vo. Reprint of 1808 edition.

Life in England in aquatint and lithography, 1770-1860 from the library of, J.R. Abbey. A bibliographical catalogue. 2 vols. London, 1956-7, (reprint 1972).

Reprint 8 vols. Copenhagen, Rosenkilde et Bagger, 1966-67.

BRUNET. Manuel du libraire et de l’amateur de livres. BURCH, R.M. Colour Printing and Colour Printers. 1910. London, Pitman & Sons, 1910.

Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860 from the library of, J.R. Abbey. A bibliographical catalogue. London, 1956-7, (reprint 1972).

CAT. RUSSICA. Catalogue de la section des Russica ou ecrits sur la Russie en langues etrangeres. St. Petersburg, 1873.

ARCHER, M. and G. W. Indian Painting for the British, 1770-1880. 1955.

CICOGNARA, Leopoldo. Catalogo Ragionato Dei Libri D’Arte e D’Antichita Posseduti dal Conte Cicognara.

ARCTIC BIBLIOGRAPHY. Washington and Montreal, 1953-69. Vols I-VII.

Pisa, 1821.

COHEN DE RICCI. Henri Cohen. Guide de livres a gravures du XVIIIe siecle. Sixieme edition revue….par

ATABEY. The Sefik E. Atabey Collection… The Ottoman World, by L. Navari. 2 vols. Bernard J. Shapero,

Seymour de Ricci. Paris, 1912.

London, 1998.

COLAS. R.J. Bibliographie generale du costume et de la mode. Paris, 1933. 2 vols.

BARBIER, A.A. Dictionnaire des ouvrages anonyms et pseudonymes. 4 vols. Paris, 1872-79.

BASTIN & BROMMER. Bastin, J. and B. Brommer. Nineteenth Century Prints and Illustrated Books of Indonesia. Utrecht, 1979. BENEZIT. Dictionnaire critique et documentaire des peintres. 8 vols. Paris, Ernest Gründ, 1966. BENNETT, Whitman. A Practical Guide to American Nineteenth Century Color Plate Books. New York, 1949.

CONTAMINOS, Dimitris. Greek Civilization through the eyes of Travellers and Scholars. Oak Knoll Press, 2004. CORDIER, H. Bibliotheca Sinica. 2nd ed. 5 vol. Paris, 1904-24. Author index. New York, 1953. Bibliotheca Indosinica. Reprint edition, New York, 1967. Bibliotheca Japonica. Paris 1912. COX, E.G. A Reference Guide to the Literature of Travel… Seattle, University of Washington, 1935-49. 3 vols. CUNDALL, Frank. Bibliotheca Jamaicencis, Kingston,

BERLIN KAT. Katalog der Ornamentstich Sammlung der Staatlichen Kunstbibliothek Berlin. Berlin,1939.

Jamaica, 1902.

Bibliography of the West Indies, Kingston, Jamaica, 1909.

2 vols. Re-issued, New York, 1958.

BLACKMER. Greece and the Levant, the Catalogue of the Henry Myron Blackmer Collection of Books and Manuscripts, by Leonora Navari. London, Maggs Bros. Ltd., 1989.

BORBA de MORAES, R. Bibliographia Brasiliana. 2 vols. Los Angeles, 1983. Revised edition.

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DE RIDDER. by Wilhelm Von Bode, The Collection of the late A. de Ridder. Berlin, 1913. One of 100. DE SILVA, R.K. Early Prints of Ceylon (Sri Lanka) 1800-1900. London, 1985. DROULIA, Loukia. Philhellenisme ouvrages inspires par la guerre de l’independance Grecque 1821-1833. Repertoire Bibliographique. Athens, 1974.

ELLIS, E.M. Early Prints of New Zealand 1642-1875. Christchurch, [N.Z.]: Avon Fine Prints, 1978.

LONCHAMP, Frederic Charles. 1730-1830 un Siecle d’art Suisse, l’estampe et livre a gravures. Lausanne, 1920.

FERGUSON, J.A. Bibliography of Australia, 1784-1850. 8 vol. Sydney, 1941-69.

GAY, J. Bibliographie des ouvrages relatifs a l’Afrique et a l’Arabie. San Remo. 1875. GLASSER. Catalogue des Principales Suites de Costumes Lithographes Francais.

GRAESSE, Jean George. Tresor de livres rares et precieux, ou nouveau dictionnaire bibliographique… 8 vols. Geneva, London, Paris, 1859-69. Methuen and co., 1906.

LOWNDES, W.T. Bibliographer’s Manual of English Literature. 6 vol. 1864. LUST, J. Western Books on China published up to 1850 on China. London, 1987. MALAKIS. French Travellers in Greece (1770-1820) an early phase of French philhellenism. A Thesis. Emile Malakis. Philadelphia, 1925.

MELLON, Paul [and] Podeschi, John B. Books on the Horse and Horsemanship, London, [1981].

HARDIE, Martin. English Coloured Books. London,

HILER, Hilaire. Bibliography of Costume: a dictionary catalog of about eight thousand books and periodicals, compiled by Hilaire and Meyer Hiler, edited by Helen Grant Cushing, assisted by Adah V. Morris. The H.W. Wilson Company, New York, 1939.

HILL, The Hill Collection of Pacific Voyages, edited by R. L. Silveira de Braganza and C. Oakes, annotations by J.A. Hill. San Diego, 1974.

HILMI, Ibrahim. The Literature of Egypt and the Soudan… to the year 1885 inclusive. A bibliography… by H.H. Prince Ibrahim-Hilmi. London, 1886-87. 2 vols.

MENDELSSOHN, S. A South African Bibliography. 2 vols. London, 1968.

NEBEHAY, Ingo. Bibliographie Altosterreichischer Ansichtwerken aus funf Jahrhunderten, Graz. 1981-91, 6 vols.

NISSEN ZBI, Nissen (C.). Die zoologische Buchillustration. 2 vol. Stuttgart, 1969. NUC. The National Union Catalog. Pre-1956 Imprints. A cumulative author list…[London] Mansell, 1968-1980.

685 vols.

OGILBY TRUST, Index to British Military Costume Prints 1500-1914. Army Museums Ogilby Trust, 1972.

HOWES, W. U.S.iana (1650-1950). New York, 1962. LACOMBE. Bibliographie Parisienne. Paris, 1887. LASCARIDES. The Search for Troy, 1553-1865; an exhibit prepared and described by A.K. Lascarides. [Indianapolis] The Lilly Library, 1977.

OBOL’IANINOV, N. Catalogue of Russian Illustrated Books 1725-1860. Moscow, 1915. PALAU. Antonio Palau y Dulcet. Manuel del librero Hispano-Americano Bibliografia general Espanola e Hispano-Americana. Barcelona, 1948-1977. 28 vols.

LANDWEHR, J. Studies in Dutch Books with Coloured Plates published 1662-1875. The Hague, 1976. LIPPERHEIDE, F.J. von. Katalog der Freiherrlich von Lipperheide schen Kostuembibliothek. 2 vols. Berlin, 1896.

PERRET, Jacques. Guide des Livres sur la Montagne et Alpinisme. 2 vols. Grenoble, 1997. PRIDEAUX, S.T. Aquatint Engraving. London, 1909.

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QUERARD. La France Litteraire ou Dictionnaire bibliographique…par J.M. Querard. Paris, 1827-57. 6 vols. RAHIR, Edouard. [Sale Catalogue] La Bibliotheque de feu Edouard Rahir. REESE, William S. Stamped with a National Character. Nineteenth Century American Color Plate Books. An Exhibition. Grolier Club, New York, 1999.

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RONSIL, Rene. Bibliographie Ornithologique Francaise. Paris, 1948-49. 2 vols.

TOOLEY, R.V. English Books with Coloured Plates, 1790-1860. B.T. Batsford Ltd.,1954 (Dawsons reprint 1973).

SABIN, J. A Dictionary of Books relating to America.

VICAIRE, Georges. Manuel de l’Amateur de livre du XIXeme siecle. 8 vols. Brueil-en-Vexin, 1974.

29 vol. New York, 1868-1936.

SCHWERDT, C.F.G.R. Hunting, Hawking, Shooting, illustrated in a Catalogue of Books, Manuscripts, Prints, and Drawings. 1928-37. 4 vols.

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THIEME-BECKER. Allgemeines Lexicon der Bildenden Kuenstler. 37 vol. Leipzig, 1907-50. TOBLER, Titus. Bibliographia geographia Palaestinae. Zunaechst kritische Uebersicht gedruckter und ungedruckter Beschreibungen der Reisen ins Heilige Land. Leipzig, 1867.

ROEHRICHT, R. Bibliotheca geographica Palestinae.

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SPENDLOVE, F. St. George. The Face of Early Canada: pictures of Canada which have helped to make history; illustrated by examples from the Sigmund Samuel Canadiana Collection. Royal Ontario Museum. 1958.

WANTRUP, Jonathan. Australian Rare Books, 1788-1900. Sydney, Hordern House, 1987.

SNELGROVE, Dudley. The Paul Mellon Collection. British Sporting and Animal Prints 1658-1874. The Tate

WHEELER GIFT. Catalogue of the Wheeler gift of books, pamphlets and periodicals in the Library of the American Institute of Electrical Engineers, by William D.,

Gallery, London, 1981.

editor, New York, 1909.

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Glossary of Terms

g.e. l, ll m.e. mss nos. no’d pl p. pp. t.e.g. unn /unnum vol. /vols []

gilt edges leaf /leaves marbled edges manuscripts numbers numbered plate one /or multiple pages top edges gilt, others not. unnumbered volume /volumes square brackets indicate that the information bracketed has been added to description although not present specifically given on the title or colophon.

BL BLC BM (NH) BN BNC GL V&A

British Library British Library Catalogue Natural History Museum British Library, Paris British Library Catalogue Gennadius Library Victoria and Albert Museum Library, London

12mo / 8vo / 4to / folio. These refer to the physical size of the book described. Roughly speaking 12mo is small, 8vo standard book size, 4to medium sized, but generally square, and can be large or small; Folio, generally large, upright or oblong (landscape).These designations date from the earliest days of printing, when the books were sized according to the number of times the original sheet of paper was folded from “gatherings”.These were lettered A-Z and if necessary Aa-Zz etc., and known as signatures, running to 12pp.; 8pp.; 4pp.; and 6 or 2 for a folio.

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Index of Authors & Artists A Ackermann, R. 828; 1168 Adam, J.-V.-V. 1169; 1170 Addison, Ch. G. 1083 Aikin, Edmund 829 Alexander, W. 1101 Alfred, H. J. 830 Alken, Henry 831; 1171-1174 Alken, S. 891; 900; 906 Alt, J. 1023 Alt, J. & R. 1059 Anburey, Th. Sir 1102 Anthing, F. 991 Antoine, Fr. jr. 1024 Apperley, Ch. J. 1174 Arago, J.E.V. 800 Artaria 1130 Arter, P. J. 1025 Arundell, F. V. J. 844 Atkinson, J. 1103 Atkinson, J. A. 832 Aubry, Ch. 1175 Audubon, J. W. 801 August, Fr. 1131

B Bacler-D'Albe, L.-A. 915 Baerentzen, Em. 992 Baerle, Caspar van 802 Barlaeus, see Baerle Barnes, J. 916 Barrenger, J. 1176 Bartsch, A. 1130 Bassaget, P., see Numa Baynes, Th. Mann 1177 Bazin, Ch. 917 Bellange, H. 1132 Bellavoine, L. 918 Belliard, Z. 917 Benoist, Felix 833; 940 Beresford, G. de la Poer 1084 Berka, J. 1133 Bernatz, J. M. 1090

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Bernucca, F. 1026 Biasioli, A. 1070 Bik, A. J. 1104 Bing, V. 993 Birch, W. 803 Blake, C. 1178 Blunt, H. 834 Bodmer, Karl 804 Bodmer, R. 1011 Boilly, J. 1027 Bon Genre, Le 919 Bonney, G. 1076 Bourcard, Fr. De 1028 Bourdet, J. 920 Bourgard, R. 834 Bowyer, R. 1134 Boys, Th. Shotter 836 Braam's, J. J. 1104 Brannon, Ph. 837 Broughton, F. 1105 Buddeus, C. 994 Bunbury, H. W. Sir 1190; 1191 Buonaiuti, B. S. 1029 Burr, A. M. 1085 Bury, T. T. 838

C Calvert, F. 1031 Campion, G. B. 840 Carr, J. 841 Casteneda, J. L. 807 CHAM, De Noe, Amedee 842 Charpentier, H. 921 Charton, G. 1030 Claassen, F. 998 Clark, I. 843; 1069 Clerget, H. 922 Clerjon de Champagny 1135 Clive, R. 1086 Clowes, G. 1031 Cochin pĂ¨re et fils 931 Cockburn, J.P. Lieut.Col. 805 Coindre,M. A. 925 Condy, Nicholas 844

Cornu, M. Paul 923 Craig, W. Marshall 884 Cruickshank, G. 847; 865 Cruickshank, R. I. 845; 846 CVZ, Major. 1136

D Daniell, Th. & W. 1106 Daniell, W. 1107 Darly, Mary 848 Daumier, H. 926-928 Davie, J.C. 806 Dawe, G. 849 De Jong, D. 997 De Loutherberg, P. J. 850 De Noirmont, Dunoyer 1150 Debucourt, Ph.-L. 929; 963 Decker, P. 1165 Delamotte, W. A. 1105 Delkeskamp, F. W. 1032 Demortain, G. 930 Dennis, J. 851 Descourtis, Ch. M. 1041 Dickenson, L. 1108 Dickson, J. 814 Dighton, R. 852 Douglas, George B. 815 Drouville, G. 1087 Dubuisson, E. 853 Dupaix, Guillaume Capt. 807 Dura,G. 1033

E Earle, A. 1109 Ebel, J. G. 1054 Eckert, H. A. 1137 Egerton, M. 854; 855 Ekman, R. W. 998 Ellis, W. 911 Elsam, R. 856 Empson, Ch. 808 Engelmann, [G.] 1027

F Feyerabend, F. 1138 Fieffe, E. 1139; 1140 Fielding, T. H. 857 Flinders, M. 1129 Fontane, M. 1088 Forestier, A. de 1034 Frankland, R. Sir 1179; 1180 Fremaux, L. J. 809 Frost, A. Burdett 1188 Fumagalli, P. 1035

G G. (A.P.D.) 1036 Gagarin, G. Prince 1018 Gardnor, J. Rev. 909 Gatine, G. J. 933; 934 Gauci, M. 1143 Gavarni, P. 927; 935; 936 Gay, Claudio 810 Geisler, M. 1037 Geissler, Chr. G. H. 1038; 1039 Georgi, J. G. 999 Geruzet, J. 1001 Gildenmeister, C. 801 Gill, S. Th. 1110 Gironi, R. 1089 Giscard 1040 Glasser, [O. von] 1141 Glover, H. Heath 1114 Godby, J. 1029 Goering, Anton 811 Gordon, W. J. 1104 Gropius 1142 Grose, Francis 857 Guerard, E. J. J. von 1111 Guilding, Rev. Lansdown 812 Gurk, J. & E. 1056

H Haghe, L. 1001 Hall, S. C. 859 Harding, J. D. 860; 939

Harnier, W. 1090 Havell, D. 882; 889 Havell, R. 861; 937; 1095 Hayden, F. V. 813 Heidelhoff, N. W. von 862 Heine, W. 1112 Hentzi, R. 1041 Hering, G. E. 1042 Herring, J. Fr. 1181 Hill, J. 821; 826 Hofdijk, W. J. 1008 Hogarth, W. 863 Holderness, M. 1002 Hommaire de Hell, X. 1091 Horn, W. 1043 Howitt, S. 1182 Hull, E. 1143 Hunt, Ch. 1183; 1184 Hunt, G. 855

I Ireland, S. 864 Isabey, J. B. 934; 938

J Janinet, J.-F. 1041 Jaresch, J. 1037 Jenny, H. 1044 Johnson, J. 865; 939

K Kappeller, J. A. 1046 Kenrick, Th. 866 Kip, Joh. 867 Knyff, L. 867 Kossaka, J. 1003 Kruyf, H. G. 1004

L La Chaise 1092 La Mesangere 944 Lalaisse, H. 940 Lami, E. 868; 941-943; 1145; 1162; 1185; 1186

Lane, Th. 869 Langlume 1135 Lante, L.-M. 944 Larsen, F. 1005 Laurens, J. 1091 Laurent, P. E. 1093 Laurent, P. M. 1146 Lawson, J. P. 860 Le Capelain, J. 813 Le Coeur, L. 960 Le Pautre, P. 930 Le Prince, X. 946 Lefebvre-Durufle, N. J. 945 Leroy, W. 995 Leuthold, H. F. 1053 Lewis, H. 815 Linassi 1047 Lisch, G. Chr. F. 1048 Lisle, J. 870 Loire, L.M. 1006 Lory, G. 1049-1051 Lose, F. 1026 Lugar, R. 871; 872 Lund, F. Chr. 1007 Lutgers, P. J. 1008; 1009

M Maaskamp, E. 1149 Madeley, G. E. 1113 Mainfeld, E. G. 1130 Malcolm, J. Peller 873 Malo, Ch. 947 Malton, J. 874; 875 Manners, J. Lord 895 Marbot, A. 1150 Marlet, J.-H. 948 Marsh, J. 876 Marston, J. 866 Martinet 949 Martius, C. F. Phil von 823 Mason, C. 1114 Matham, Th. 802 Mathias, L. G. 1050 Mathison, G. F. 816 Maugendre, A. 950; 951

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Maurice of Saxony 1151 Maurice, Ch. 952 Maximilian zu Wied-Neuwied, Prince 804 Mazuchelli, N. E. S. 1115 Mazzara, L. 1094 McNiven, Th. W. Ogilvy 1095 Mechel, Chr. De 1052 Melville, H. S. 1116 Menzel, A. 1039 Mercereau, Ch. 952 Meyer, F. 1053 Meyer, J. J. 1054 Meyer, Lutke, Fritz 1055 Middleton, Ch. 877; 878 Mieling, C. W. 1117 Milbert, J. G. 817 Mollhausen, Heinrich B. 818; 819 Mollo, Tr. 1056; 1152 Moltzheim, A. de 1153 Monnier, H. 964 – 989 Monten, D. 1137 Moran, Th. 813 Moretti, D. 1064 Moritz, F. W. 1051 Morris, R. 879; 880 Moss, E. L. 820 Motz, J.-M. 1057 Müller, E. 953

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Nachtmann, X. 1010 Nares, Capt. G. Strong 820 Nash, J. 881 Nicolle, E. 814 Noble, W. B. 882 Numa 1058 Nutter, M. E. 883

Quadri, A. 1064

O Olivier, S. Pasfield 1096 Otth, A. 1097

P Paetz, W. 1011 Parkinson, S. 1119 Parks, F. 1120 Perrin 955 Petit, V. 956 Petter, F. 1059 Pezolt, G. 1060 Phillips, Richard 884 Pigal, E.-J. 957-959 Pinelli, B. 1061; 1062 Planche, J. R. 899 Pocock, G. 885 Pouget, R. 1113 Preziosi, A. 1098 Pückler-Muskau, H. L. H. von, Fürst 1063; 1099 Pyne, J. Baker 886 Pyne, W. H. 887

R Raffet, D. A. M. 1140 Rahl, C. 1130 Ramm, A. L. 1155 Raspe, G. N. 1156 Rawlins, T. 1187 Read 888 Reijnst, J. C. 1012 Reinagle, G. Ph. 1157 Remington, Fr. 1188 Richardson, Th. Miles snr. 889 Richter, J. 991 Rigmaroll, Olio pseud. 855 Riou, E. 1088 Rodriguez, A. 1065 Ronchi, L. 1066 Rosenmüller, J. Chr, 1067 Rost, C. E. 1068 Rowlandson, Th. 890-894; 907; 1189-1193; 1203 Rugendas, G. Ph. 1165 Russell, G. 1069

S Saint-Hilaire, E. M. de 1158 Sallieth, M. 997 Salt, H. 1123 Sanquirico, A. 1070 Sarconi, M. 1071

Sargent-Marceau, A. L. F. 961 Scheffer, J.-G. 962 Schenk, P. 1014 Schetky, J. Ch. 895; 1159 Schlagintweit, R., A. & H. 1122 Schlatter, D. 1015 Schlever, F. 1137 Schmitz, M. 896 Schubauer, F. 1160 Scott, W. L. L. 1123 Senefelder, A. 964 Serres, J. T. 835 Seymour, R. 897; 898; 1194 Shaw, J. 821 Shipley, C. 1124 Silfwerskjold, T. von 1016 Skinner, Capt. J. 822 Smith, Ch. L. 1195 Smith, R. Capt. 1107 Smyth, C. 899 Sotheby, W. 900 Speerli, J. 1011 Spencer, Th. 1196 Spix, J. B. von 823 Stackelberg, E. 1017; 1018 Strasoldo, R. 1161 Sudre, J.-P. 917 Suhr, Chr. 1073 Surtees, R. Smith 1197-1200 Suter, J. 1074

T Temple, R. Lieut. 1125 Thieme, F. 1019 Thompson, G. 1126 Thomson, J. 901 Thornhill, R. B. 1201 Tondosa, St. 1003 Topham, W. F. 902 Trentsensky, J. 1160 Troedel, Ch. 1127

U Ueberfeldt, Braet von 993

V Valentia, G. Annesley1121 Vallon de Villeneuve, J. 917 Van de Wall Bake, J. 1014 Van Lerbergi, P. 1029 Van Lier 1020 Vernet, C. 963 Vernet, H. 1146 Vernet, H. & C. 1162; 1202 Vivian, E. 903

W Waldeck, J. F. M. 824 Wales, J. 1128 Walke, H. 825; 1163 Wall, W. G. 826 Wallis, J. 904

Walsh, Th. 1100 Walter, J. E. Chr. 1021 Walton, E. 1078 Warre, H. J. General 1164 Weibel, J. S. 1077 Westall, W. 1129 Westhreene, T. van 1022 Wetzel, J. J. 1078; 1079 Whatley, Th. 905 Whitaker, Th. Dunham 906 Whitty, Capt. I. S 826 Wigstead, H. 890; 907 Williams, David 908 Winston, J. 909 Winter, G. R. 910 Wittich, L. W. 1080 Witton, P. H. 911 Wolcot, J. 913 Wold, C. 1041 Wolf, C. 1081 Wolf, J. 1165 Woodroffe, R. 912 Woodward, G. Montard 1203

Y Yung, M. 1166

Z Zaballi, A. 1071 Zabern, V. von 1082 Zezon, A. 1167 Ziegler, H. B. 914

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