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browsing 4642 items
displaying items 3401 to 3500
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(total 47 pages)
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus crenatifolius [Pl. 170]
[Pl. 170]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing. Image size (including text): 14 3/8 x 9 1/2 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13796 $575.00  
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus psilophyllus [Pl. 176]
[Pl. 176]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing. Image size (including text): 14 1/8 x 9 1/2 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13797$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus canus [Pl. 169]
[Pl. 169]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing and slight offsetting. Image size (including text): 14 3/8 x 9 1/2 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13798$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Augusta glaucescens [Pl. 105]
[Pl. 105]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing, mild offsetting, and slight discolouration of the paper due to age. Image size (including text): 13 3/4 x 10 inches. Sheet size: 20 1/2 x 13 1/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13799$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus corymbiferus [Pl. 175]
[Pl. 175]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing. Image size (including text): 14 5/8 x 8 5/8 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13800$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus villosulus [Pl. 171]
[Pl. 171]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing and slight offsetting. Image size (including text): 14 3/8 x 8 1/4 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13801$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Stephanophylsum brevifolium [Pl. 155]
[Pl. 155]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing, slight offsetting, and a small spot of adhesive residue in the top margin. Image size (including text): 14 3/8 x 9 3/4 inches. Sheet size: 20 3/4 x 13 5/8 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan, L2, 8103.
#13802$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus duploserratus [Pl. 177]
[Pl. 177]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing and slight offsetting. Image size (including text): 14 1/8 x 9 1/4 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.
#13803$575.00
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 POHL, Johann Baptist Emanuel (1782-1834)
Siphocampilus nitidus [Pl. 174]
[Pl. 174]. [Vienna: 1826-1833]. Lithograph, coloured by hand, by Wilhelm Sandler. Very good condition apart from some minor foxing. Image size (including text): 14 1/4 x 9 3/4 inches. Sheet size: 20 3/4 x 13 3/4 inches.
A very fine image of a Brazilian exotic, from the deluxe, large-paper, hand-coloured issue of Pohl's masterpiece.
Pohl's magisterial Plantarum Brasiliae, one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-coloured pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.
Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan, TL2, 8103.
#13804$575.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Chevreuse tardive [Peach] [Pl. 238]
[Pl. 238]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Poiteau. Very good condition apart from some light soiling and minor foxing, slight yellowing of the paper due to age, two natural paper creases in the bottom margin, and some offsetting with image. Plate mark: 12 1/2 x 9 3/4 inches. Sheet size: 18 3/4 x 12 3/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8691$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Pavie Madeleine [Peach or Nectarine] [Pl. 225]
[Pl. 225]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Good condition apart from some overall light soiling, minor foxing, slight yellowing of the paper due to age, and some offsetting with image. Plate mark: 12 3/4 x 9 1/2 inches. Sheet size: 18 3/4 x 14 1/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8693$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Grosse violette hâtive [Peach] [Pl. 311]
[Pl. 311]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bocourt after Poiteau. Very good condition apart from some overall light soiling, a few minor surface abrasions in the top margin, and a skillfully repaired tear spanning the length of the top of the plate mark. Plate mark: 12 1/2 x 9 3/4 inches. Sheet size: 18 5/8 x 12 3/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8740$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Mignonne hâtive [Peach] [Pl. 381]
[Pl. 381]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bocourt after Turpin. Very good condition apart from some overall minor foxing. Plate mark: 12 3/8 x 9 3/4 inches. Sheet size: 19 5/8 x 13 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8742$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Vineuse hâtive [Peach] [Pl. 235]
[Pl. 235]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Very good condition apart from some overall light soiling, minor foxing, and slight offsetting with image. Plate mark: 12 1/2 x 9 3/4 inches. Sheet size: 21 1/8 x 13 5/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8743$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Bourdine [Peach] [Pl. 147]
[Pl. 147]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Very good condition apart from some very light soiling and slight offsetting with image. Plate mark: 13 x 9 3/4 inches. Sheet size: 21 1/4 x 13 5/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8744$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Galande [Peach] [Pl. 139]
[Pl. 139]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet. Very good condition apart from some overall light soiling and creasing, minor foxing, and several small light brown spots in the margins. Plate mark: 12 5/8 x 9 5/8 inches. Sheet size: 15 3/4 x 11 1/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8745$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Pomme Princesse [Apple] [Pl. 8]
[Pl. 8]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Very good condition apart from some overall light soiling. Plate mark: 12 3/8 x 9 1/2 inches. Sheet size: 20 1/4 x 12 7/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8748$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Doux-juvigny [Apple] [Pl. 278]
[Pl. 278]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Gabriel after Turpin. Very good condition apart from some overall light soiling, minor foxing, and slight creasing. Plate mark: 12 1/2 x 9 3/4 inches. Sheet size: 17 3/4 x 12 1/2 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8751$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Gros Pigeonnet [Apple] [Pl. 193]
[Pl. 193]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Very good condition apart from some overall light soiling and minor foxing. Plate mark: 12 3/4 x 9 1/2 inches. Sheet size: 17 7/8 x 13 3/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8752$475.00
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 POITEAU, Antoine (1766-1854) and Pierre-Jean-François TURPIN (1775-1840)
Pomme de rosée [Apple] [Pl. 234]
[Pl. 234]. Paris and Strasbourg: Levrault, [1807-] 1835. Stipple-engraving, printed in colours and finished by hand with water-colour, engraved by Bouquet after Turpin. Good condition apart from some overall light soiling and minor foxing. Plate mark: 12 3/8 x 9 1/4 inches. Sheet size: 20 1/8 x 14 1/8 inches.
A masterpiece of pomological illustration by one of the greatest fruit painters of the 19th century, from Duhamel du Monceau's 'Traité des arbres fruitiers', a work that is rightly described by Dunthorne as 'one of the finest and rarest books on fruit'.
The production of these delightful and beautifully coloured plates involved a team of over twenty engravers, while the colour-printing was done solely by Langlois, the great French colour-printer who supervised Redouté's work. They skillfully capture the beauty and subtle richness of colour of the original watercolour paintings. The use of the coloured stipple engraving is here seen at its peak.
Poiteau, a pupil of Redouté, trained as a botanist and was employed at the Jardin des Plantes in Paris. Turpin, a self-taught artist, went on to illustrate a number of his own works.
Cf. Nissen BBI 551; cf. Great Flower Books (1990), p. 93; cf. Dunthorne 101; cf. Pritzel 2467; cf. Stafleu & Cowan TL2 1548.
#8759$475.00
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 POLLARD, After James (1792-1867)
Epsom Races. Here they come. To the Noblemen and Gentlemen of the Turf, and the Subscribers this print representing the Horses passing Tattenham Corner for the Derby Stakes is most respectfully dedicated by their obedient and most obliged Servants, S. and J. Fuller
London: S. & J. Fuller, 2 June 1834. Aquatint, printed in colours and finished by hand, by R.W. Smart and C. Hunt. Image size (including text): 14 x 23 1/2 inches. Sheet size: 19 3/4 x 29 1/2 inches.
Early issue on Whatman paper. A fine image capturing the excitement of the moment during the running of the most famous classic race in the world of racing. Lane notes that this is one of a pair of prints, Siltzer and Selway both record a series of four.
Pollard here shows the scene as the runners turn into the finishing straight. The crowd is cheering and spectators on horseback urge their mounts on as they dash across towards the inside rails in an effort to get a view of the finish of the race.
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.150 (2 prints in the series); cf. SelwayJames Pollard 1792-1867 p.46 (variant title); Siltzer p.221 (4 prints in the series)
#5173$4,750.00
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 POLLARD, After James (1792-1867)
A North East View of the new General Post Office, With the Royal Mails (& Carts) preparing to Start
London: Messrs. Fores, 31 December 1852. Aquatint, coloured by hand, by H. Pyall. Image size (including text): 14 7/8 x 22 7/8 inches. Sheet size: 19 1/2 x 25 1/8 inches.
A fine quality image, a re-issue of a print first published in 1832.
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing. In all his work he took great pains over accuracy, this is particularly true of his large scale works, such as the present busy London scene, the people are all individuals going about their daily lives, and the coaches, carts and cabs have all been very carefully observed: a true microcosm of London.
Selway James Pollard p.38
#5279$2,750.00
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 POLLARD, James (1792-1867)
Tiresias Was bred by His Grace the Duke of Portland in 1816 was got by Soothsayer out of Sledge... At Epsom he won the Derby Stakes beating 15 others among whom were Sultan, Euphrates, The Dominic, &c
London: R. Pollard & Sons, 6 July 1819. Aquatint, coloured by hand, by James Pollard (Expert repairs to margins, one to a 2" tear touching image area). Image size (including text): 12 3/8 x 17 3/4 inches. Sheet size: 14 3/8 x 18 13/16 inches.
A fine portrait of the winner of the 1819 Epsom Derby, engraved by James Pollard from his own original drawing.
Tiresias is shown just before a race: his groom administers a last minute tonic (!) whilst his jockey (W. Clift) takes off an overcoat in preparation to mount, and his trainer looks on proudly. In the background can be seen the grand-stand of the race course (possibly Epsom).
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.146; cf. Selway James Pollard 1792-1867 p.47 (variant title); Siltzer p.214.
#5206$3,500.00
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 POLLARD, James (1792-1867)
Moses Bred by His Royal Highness the Duke of York in 1819, got by Whalebone, his dam by Gohanna... In 1822 he won.. the Derby Stakes at Epsom beating Figaro, Hamden, Stamford, Marcellus, Mystic Wanton & five others... In 1823 at the Newmarket Craven Meeting won the Claret Stakes of 200Gs. each
London: R. Pollard & Sons, 22 June 1822 [but 1823]. Aquatint, printed in colours and finished by hand, by James Pollard. Image size (including text): 12 1/8 x 17 1/2 inches. Sheet size: 15 3/8 x 19 3/16 inches.
A fine portrait of the winner of the 1822 Epsom Derby, engraved by James Pollard from his own original drawing.
Moses is shown as preparations for the race get under way: the jockey (T. Goodisson) brings over the saddle to the bare-backed horse who is held by his groom. Moses' blankets have just been removed and a stable lad folds them neatly.
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.146; Selway James Pollard 1792-1867 p.48; Siltzer p.214.
#5207$3,500.00
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 POLLARD, James (1792-1867)
G. Osbaldeston Esqr. extraordinary match of 200 miles against time
London: B. Moss, 31 December 1852. Aquatint, coloured by hand, by James Pollard . Image size (including text): 12 1/2 x 17 1/4 inches. Sheet size: 17 3/8 x 21 1/4 inches.
A fine quality image, engraved by James Pollard from his own drawing.
Re-issue of a plate first published by T. Helme in 1831 and depicting the famous sportsman George Osbaldeston (1787-1866), "at the Newmarket Houghton meeting [of 1831, where] he performed an extraordinary feat. He undertook to ride two hundred miles in ten consecutive hours for a bet of a thousand guineas, the number and choice of horses being unlimited. He divided the distance to be covered into heats of four miles each, changing his horse at the conclusion of each heat, and he accomplished his task one hour and eighteen minutes within the time specified, having ridden, allowing for stoppages, at the rate of twenty-six miles an hour." (DNB).
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day... [In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane British Racing Prints p.146)
Lane British Racing Prints p.149; cf. Selway James Pollard 1792-1867 p.45 (1831 issue); Siltzer p.220.
#5208$2,400.00
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 POLLARD, James (1792-1867)
Tiresias Was bred by His Grace the Duke of Portland in 1816 was got by Soothsayer out of Sledge... At Epsom he won the Derby Stakes beating 15 others among whom were Sultan, Euphrates, The Dominic, &c
London: R. Pollard & Sons, July 6, 1819. Coloured aquatint. Framed in a lovely birds-eye maple frame with gold slip. Mounted in fine washline mount. In excellent condition with the exception of a minor scuff in the upper left corner of image. . Image size (including text): 12 1/4 x 17 1/2 inches. 23 x 27 1/8 x 1 1/8 inches.
A fine portrait of the winner of the 1819 Epsom Derby, engraved by James Pollard from his own original drawing.
Tiresias is shown just before a race: his groom administers a last minute tonic (!) while his jockey (W. Clift) takes off an overcoat in preparation to mount, and his trainer looks on proudly. In the background can be seen the grand-stand of the race course (possibly Epsom).
James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. "A stream of coaching paintings followed, many of which he engraved himself. From 1821, he exhibited a small number of pictures at the Royal Academy and the British Institution, which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeple chasing on purpose-made courses, many recording the prowess of the few professional and more amateur riders of the day...[In all his work Pollard took great pains over accuracy, this is particularly true of his large scale works and] it is Pollard's large racing scenes which really take off and into which one can gaze and discover a microcosm of the turf" (Charles Lane, British Racing Prints, p.146).
Lane, British Racing Prints, p.146; cf. Selway, James Pollard 1792-1867, p.47 (variant title); Siltzer p. 214.
#13656$3,250.00
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 POLLARD, R. after Nathaniel HONE
General Elliot
London: Published by Thomas Macklin, No 39 Fleet Street & by R. Pollard, No. 15 Brains Row, Spaw Fields, Oct. 29, 1782. Stipple engraving printed in sepia. In excellent condition. Image size: 9 3/4 x 6 7/8 inches. Plate mark: 11 1/2 x 7 1/2 inches. Sheet size: 12 3/4 x 8 3/4 inches.
An intricate portrait of General Elliot, who defended England's possession of Gibraltar
A charming portrait of General Elliot, who garnered a reputation for extreme valor and ceaseless dedication. He was a much admired leader by both the men who served under him and monarchs of the English throne. Throughout his distinguished career Elliot participated in a number of military engagements traveling as far away as Cuba for the capture of Havana and as close to home as Ireland as commander-in-chief of His Majesty's forces. Elliot is best remembered as the defender of Gibraltar, when, in 1779, he successfully defended the English fortress of Gibraltar against a Spanish land and sea invasion. The siege, which lasted three years, reduced Elliot's force to the utmost extremity of famine, but with the aid of Lord Howe they managed to break the blockade and keep control of Gibraltar. Elliot's victory at Gibraltar established him as an English hero. (DNB)
Not in O'Donoghue.
#8154$450.00
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 POMEL, Claude Joseph (1781-1839) after S. LEROY
Īle Guam: Travaux D'Agriculture [Pl. 70]
[Pl. 70]. Paris: 1824-37. Hand-coloured and colour-printed line and stipple engraving. Good condition apart from some overall light soiling and foxing. Plate mark: 9 x 12 3/4 inches. Sheet size: 12 1/4 x 18 3/4.
A striking plate depicting agricultural laborers hard at work on the island of Guam, from Freycinet's important publication "Voyage autour du monde."
Louis Claude Desaulces de Freycinet (1779-1842) was a French marine officer and explorer, who participated in several significant early 19th-century expeditions to relatively unknown areas in the southern hemisphere. In 1800, he joined one of the most important early explorations of Australia, which was commissioned by the French government and commanded by Nicholas Baudin (1754-1803). On this voyage, which included stops in Mauritius and Tasmania, Freycinet served as a surveyor and was responsible for conducting a thorough cartographic survey of the Australian coast. Upon returning to France years later, he completed a detailed account of the journey begun by the naturalist Françis Péron that was published as Voyage de decouvertes aux Terres Australes between 1807 and 1816.
In 1817, Freycinet embarked on the Uranie on a major scientific expedition around the world to record information regarding the geography, meteorology, terrestrial magnetism, ethnology, and indigenous flora and fauna of various locations in the southern hemisphere. Accompanied by the talented artist Jacques Arago, he explored the Sandwich Islands, the Hawaii Islands as well as Rio de Janeiro, the Cape of Good Hope, Tonga, Gibraltar, Tenerife, Mauritius, Timor, Tierra del Fuego, Montevideo, Mauritius, New South Wales, and the Caroline Islands. After being shipwrecked near the Falklands, Freycinet eventually returned to Paris on the Physicienne in 1820, where he published a comprehensive illustrated account of the expedition in a colossal thirteen-volume work entitled Voyage Autor de Monde.
The Columbia Encyclopedia, second edition (1950), p. 728; Ferguson 2906b; Hill, p.10 (ref).
#14021$550.00
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 PONERT, Dietmar J
Willi Baumeister Werkverzeichnis der Zeichnungen, Gouachen und Collagen. Catalogue Raisonne
Cologne: Dumont, 1988. Large 4to. Cloth, Dust jacket, Slipcase.
808 pages, 2285 black and white plates, 16 large color illustrations.
#2402$128.00
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 POPE, Alexander Jr. (1849-1924)
[Black Ducks]
New York: Charles Scribner's Sons, 1877-78. Colour-printed lithograph, finished by hand and heightened with gum arabic, on card mount. Very good condition apart from some very minor soiling in the margins. Image size (including text): 13 7/8 x 20 inches. Sheet size: (of mount) 18 1/2 x 24 inches.
From "Upland Game Birds and Water Fowl of the United States," a rare American series of prints with wonderful landscape backgrounds reminiscent of the Hudson River Portfolio.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he briefly studied sculpture with the prominent artist William Copley and essentially taught himself to paint. Although primarily lauded as a painter, he continued producing sculptures well into the 1880s and later became a member of the famed art association the Copley Society of Boston. In 1878 and 1882, he published two important portfolios of chromolithographs after his watercolours: Upland Game Birds and Water Fowl of the United States, from which this plate comes, and Celebrated Dogs of America respectively. In addition to his more conventional animal paintings, Pope was also known for his still-life compositions of dead animals hanging in the interior of wooden crates, which innovatively combined his avid interest in hunting and fishing with the trompe l'oeil style of painting. His works and those of the influential trompe l'oeil painter William Harnett (1848-1892) helped popularize the genre of still life in late nineteenth-century America.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 140.
#10490$750.00
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 POPE, Alexander Jr. (1849-1924)
[Pinneated Grouse]
New York: Charles Scribner's Sons, 1877-78. Colour-printed lithograph, finished by hand and heightened with gum arabic, on card mount. Very good condition apart from a chip to the bottom margin of the mount. Image size (including text): 14 x 20 inches. Sheet size: (of mount) 15 1/2 x 21 5/8 inches.
From "Upland Game Birds and Water Fowl of the United States," a rare American series of prints with wonderful landscape backgrounds reminiscent of the Hudson River Portfolio.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he briefly studied sculpture with the prominent artist William Copley and essentially taught himself to paint. Although primarily lauded as a painter, he continued producing sculptures well into the 1880s and later became a member of the famed art association the Copley Society of Boston. In 1878 and 1882, he published two important portfolios of chromolithographs after his watercolours: Upland Game Birds and Water Fowl of the United States, from which this plate comes, and Celebrated Dogs of America respectively. In addition to his more conventional animal paintings, Pope was also known for his still-life compositions of dead animals hanging in the interior of wooden crates, which innovatively combined his avid interest in hunting and fishing with the trompe l'oeil style of painting. His works and those of the influential trompe l'oeil painter William Harnett (1848-1892) helped popularize the genre of still life in late nineteenth-century America.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 140.
#10492$750.00
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 POPE, Alexander Jr. (1849-1924)
[Black Ducks]
New York: Charles Scribner's Sons, 1877-78. Colour-printed lithograph, finished by hand and heightened with gum arabic. Mounted on card as issued. Very good condition apart from some light soiling in the top right corner of the image and a 1/2" tear in the left margin. Image size (including text): 14 x 20 inches. Sheet size: 16 7/8 x 23 inches.
From "Upland Game Birds and Water Fowl of the United States," a rare American series of prints with wonderful landscape backgrounds reminiscent of the Hudson River Portfolio.
Alexander Pope Jr. was a renowned American sporting artist who specialized in animal and still life paintings. Born in Dorchester, Massachusetts in 1849, he briefly studied sculpture with the prominent artist William Copley and essentially taught himself to paint. Although primarily lauded as a painter, he continued to produce sculptures well into the 1880s and later became a member of the famed art association, the Copley Society of Boston. In 1878 and 1882, he published two important portfolios of chromolithographs after his watercolours: Upland Game Birds and Water Fowl of the United States, from which this plate comes, and Celebrated Dogs of America, respectively. In addition to his more conventional animal paintings, Pope was also known for his still life compositions of dead animals hanging in the interior of wooden crates, which innovatively combined his avid interest in hunting and fishing with the trompe l'oeil style of painting. His works and those of the influential trompe l'oeil painter William Harnett (1848-1892) helped popularize the genre of still life in late nineteenth-century America.
Cf. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 140.
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