Search Results: Authors starting with V from Donald Heald Rare Books

Amsterdam, 1700. Copper-engraved map, full period hand-colouring. Highly decorative map of North and South America showing California as an island and here with full period hand colouring. This decorative map by the Valk brothers is after a similar map by Carol Allard, first published circa 1696. Cartographically, both Allard and the Valks borrow heavily from the De Wit map of 1675, naming the Great Lakes, showing California as an island and with a Terra Esonis and Fretum Anian in the northwest. Interestingly, the Valks here re-issue the first state of Allard's map, i.e. before the re-engraving of the western Great Lakes and the Mississippi River (based on Hennepin's mapping). In addition, the lower left corner of the cartouche is left blank, whereas in subsequent issues of the Allard map, an inset of New Zealand appears. In the present issue, there are no toponyms on Terra Esonis and the South Pacific is without New Guinea. Cf. Burden, The Mapping of North America II: 724 (discussing the map under… Read More

London: John Boydell, 1764. Copper engraving, coloured by hand, by William Walker, from Richard Earlom's design after van Herp. A very fine genre picture, expertly interpreted by Earlom and Walker. The artist of the original work is probably Willem van Herp (not Harp as in the title): the most likely candidate from amongst a prolific family of 17th-century Flemish painters. A riotous scene, full of movement, set in an anteroom in a Flemish tavern. In the foreground a cat and dog pause momentarily during their ongoing battle. Guests are seated around a table set with bread and ham. A small boy reaches for the ham. The men, all somewhat the worse for drink, sit or stand around. One man relieves himself in the background, whilst two of his companions try and sweet-talk two of the serving maids, both of whom resist, one tries to keep her paramour at arms length whilst still maintaining her grip on a dish of fresh radishes, but a third seated figure reaches up and pulls her towards him by her apron. It… Read More

London: John Boydell, 1781. Mezzotint, by Richard Earlom (some paper abrasion to outer blank margins). A very fine mezzotint after the work of Jan van Huysum:: the "last of the great Dutch masters'' (Mitchell), the "Phoenix of Flower Painters" (Weyerman). "It is the fate of some painters to be celebrated in their lifetime only and to be disregarded by later generations...Other painters pass their lives in obscurity only to be acclaimed by a succeeding century. A few, a very few, achieve a fame which is universal in their own day, never falters, and remains unchanged today. Jan van Huysum is among them. To Weyerman...Van Huysum was the 'phoenix of Flower Painters.' To Vertue, writing of six paintings he saw in an English collection in the 1740s, they were 'the most inimitable pictures that were ever seen.' In Van Huysum's lifetime the Kings of Poland and Prussia, the Elector of Saxony, Prince William of Hesse, the Dukes of Orleans and Mecklenburg, and Sir Robert Walpole were eager patrons. When… Read More

London: John Boydell, 1781. Mezzotint by Richard Earlom, proof before title. A very rare proof mezzotint after the work of Jan van Huysum: the "last of the great Dutch masters'' (Mitchell), the "Phoenix of Flower Painters." (Weyerman) Proof, before title, the first before the motto was added to the Earl of Orford's coat-of-arms. "It is the fate of some painters to be celebrated in their lifetime only and to be disregarded by later generations...Other painters pass their lives in obscurity only to be acclaimed by a succeeding century. A few, a very few, achieve a fame which is universal in their own day, never falters, and remains unchanged today. Jan van Huysum is among them. To Weyerman...Van Huysum was the 'phoenix of Flower Painters.' To Vertue, writing of six paintings he saw in an English collection in the 1740s, they were 'the most inimitable pictures that were ever seen.' In Van Huysum's lifetime the Kings of Poland and Prussia, the Elector of Saxony, Prince William of Hesse, the Dukes of… Read More

Newcastle upon Tyne: Isaac Thompson, 1763. 8vo. (6 1/2 x 4 inches). [8], 95, [1], 7, [1]pp. Expertly bound to style in half eighteenth century russia and period marbled paper covered boards Rare first edition in English of a manual on growing hyacinth, tulips and ranunculus, by a noted Dutch florist. Translated from the original in French, "Trait des fleurs à oignons" (Harlem:1760) by Robert Harrison. "Appended to The Dutch florist is a translation of an unknown work (pp. 7), entitled The monthly catalogue" (Henrey). The work was reissued with a cancel title in London the same year, and a second edition followed in 1764. Scarce. ESTC T92142; Henrey III:888; Johnston 464.

New York: Anson D.F. Randolph, 1862. Folio. (18 x 13 1/2 inches). Tinted lithographic additional title by Charles Parsons, printed by Endicott & Co., 20 chromolithographic plates by Parsons after van Lennep, all printed by Endicott & Co. of New York. Expertly bound to style in half red morocco and period marbled paper covered boards, spine gilt with raised bands, marbled endpapers. A rare and important American color-plate book. One of the relatively few American costume books, and certainly the best such created in 19th-century America. This is a notable and unusual instance of the taste for the Ottoman or "Turkish" which manifested itself in the furniture of the period but seldom in books. In terms of American color-plate books, this is one of the only large projects from the 1860s, when the Civil War seems to have curtailed production of such lavish enterprises. "The one really big chromolithographic book of this decade ... the art is simple, but [Charles] Parson's hand is obvious in the good… Read More

New York: Anson D.F. Randolph, 1862. Folio. (18 x 13 1/2 inches). 20 chromolithographic plates by Parsons after van Lennep, all printed by Endicott & Co. of New York. Tinted lithographic additional title by Charles Parsons, printed by Endicott & Co. Bound to style in half-black morocco with publisher's gilt-pictorial cloth boards A rare and important American color-plate book. One of the relatively few American costume books, and certainly the best such created in 19th-century America. This is a notable and unusual instance of the taste for the Ottoman or "Turkish" which manifested itself in the furniture of the period but seldom in books. In terms of American color-plate books, this is one of the only large projects from the 1860s, when the Civil War seems to have curtailed production of such lavish enterprises. "The one really big chromolithographic book of this decade ... the art is simple, but [Charles] Parson's hand is obvious in the good lithography, and Endicott's printing is well done for… Read More

Haarlem: Published by Pieter Soutman, 1644. Mixed method, engraving and etching. Printed on fine watermarked laid paper. In excellent condition. Image size: 15 1/2 x 10 1/2 inches. A lavish engraving from a series of portraits of Hapsburg royalty published by Pieter Soutman. This stunning portrait is from a suite of engravings published by Pieter Claesz Soutman. Executed by some of the most noted seventeenth century engravers, the suite is a lavish series of portraits of the Hapsburg dynasty. A prolific engraver and publisher, Soutman began his career as a painter in Ruben's studio. In 1628 he returned to Haarlem and founded his own workshop, which was responsible for training some of the most celebrated printmakers in Holland. Marguerite of Lorraine, born into the prestigious House of Lorraine in Nancy, emerged as a figure of strength and resilience. Raised by her aunt Catherine of Lorraine, the Abbess of Remiremont, after the loss of her mother, Marguerite's life was intertwined with political… Read More

London: Printed for G. G. and J. Robinson, Paternoster-Row; and J. Edwards, Pall-Mall, 1798. 4 volumes (including atlas). 4to (11 3/4 x 9 1/4 inches) and folio (22 1/2 x 17 1/2 inches). Vol. I: [8] [i]-xxix [9] [1]-432. 478 pp. 6 engraved plates by W. Alexander after H. Humphries. Vol. II: [10] [1]-504. 514 pp. 5 engraved plates by W. Alexander after T. Heddington and F. Sykes. Vol. III: [10] [1]-505 [3]. 516 pp. 6 engraved plates by W. Alexander after J. Sykes, et al. Atlas: 10 engraved folding charts, 6 engraved plates of coastal profiles, uncut, mounted on guards throughout. Half-Titles, Titles, Dedication, Introduction, Editor's Advertisement, Table of Contents, List of Plates, Books I-VI, Notes and Miscellaneous Observations, Errata. Finely bound to style in uniform red quarter morocco with tips on original grey paper boards, spine gilt-ruled into six compartments, title and volume number in gilt in second and fourth compartments, all edges sprinkled grey. Atlas with binder's ticket of "J. Tuck,… Read More

Madrid: Viuda de Ibarra, Hijos y Compañía, 1788. 4to. (9 3/8 x 6 14/16 inches). Engraved portrait frontispiece, 4 folding engraved maps and 4 folding tables, number in ink manuscript to foot of title, epigraph leaf with later ink note and bookplate of Maria Zoila Godoy de Cobo [bound with:] Apéndice a la Relacion del Viage al Magallanes. Madrid: Viuda de Joaquin Ibarra, 1793. First Edition. Folding table and folding map. Contemporary red morocco gilt, with supralibros of Charles III on boards, double-fillet and roll-tooled borders to boards, raised bands to spine with simple tooling, green morocco lettering piece, blue silk endpapers. Provenance: Maria Zoila Godoy de Cobo, Argentinian heiress, philanthropist and patron of the arts, one of the early benefactors of the Museo Nacional de Bellas Artes of Buenos Aires, Argentina; engraved bookplate. First edition, one of the classic works of navigation to the Magellan Strait, here in a fine copy bound in the contemporary red morocco with the arms of… Read More

1784. Engraving. Proof before title and publication details, state ii/iii. In excellent condition with the exception of two mended tears in the upper and lower margins. Image size: 13 7/8 x 16 7/8. A charming scene of an idyllic musical afternoon, by the famous miniature artist Nicolas Lavreince. This is a stunning proof impression of this beautiful print by Varin after Nicolas Lavreince. The scene depicts an elegantly dressed group enjoying a musical afternoon. The seated guitar player and standing woman with a mandolin (?) share an intense gaze. Lavreince (1737-1807) was a Swedish miniature painter who trained and worked in Paris until the onset of the Revolution when he returned to Stockholm. Lavreince's pleasant scene of carefree aristocrats enjoying a day in the country is perfectly translated into print by Varin. In its decorative subject and delicate execution "Le Concert agreeable" embodies the character of Rococo art. Le Blanc, Manuel de L'Amateur D'Estampes Vol. III, p. 94, No. 20 ii/ii;… Read More

Seville: Juan Francisco de Blas, 1672. 2 volumes in 1; folio. (11 1/2 x 8 1/8 inches). First edition, engraved frontispiece by Marcos Orozco (dated 1671), [32], 299 pp.; 264 pp., [70], colophon page. Contemporary limp vellum with remainder of leather ties. Title boldly lettered in ink on spine. A very detailed account of Spanish trade practices in the West Indies, describing the organization of the courts, administration of the Armada, work of the missionaries, and the slave trade, as well as general information on the state of commerce in the West Indies through the 17th century. José de Veitia Linage, a distinguished figure within the esteemed Casa de Contratación and the Consejo de Indias during the period spanning 1653 to his death in 1688, dedicated his attention to the scrupulous examination of Spanish commercial connections with the American colonies. The present endeavor, thus, represents a thorough exploration of the subject matter. Within his introductory address to the reader, Veitia… Read More

Water-colour and gouache, signed (mid-right) and inscribed in brown ink (lower margin) 'Regne végétal 1 et 2. deux Especes de chrysanthemum.', numbered '1' and '2' (above image). Provenance: Baron Joseph van Huerne (compilor, gift to his grandson:); Joseph de Pelichy. This very fine original botanical watercolour is taken from a compilation of drawings made by Baron Joseph van Huerne in Belgium between about 1790 and 1820, which certainly included 135 (and probably about 170) original watercolour and gouache drawings bound in four albums, each with a manuscript title page 'Collection du Regne Vegetal, Arbres Forestiers et Fruitiers, leurs Fruits. &c' He employed the talents of at least five different artists. A secondary inscription notes the presentation of the albums 'Donné par son grand-Père mons. J. van Huerne à Joseph de Pelichy le 9 Avril 1831'. The albums subsequent history is unclear, but currently Mrs Paul Mellon's Oak Spring Garden Library has one volume [ Oak Spring Sylva 4] and the… Read More

1808. Water-colour and gouache, inscribed in brown ink (lower margin) 'Regne Vegetal 1. Tulipe dite la monstreuse. du jardin, de Mr. van De Baviere, ci-devant Curé de Terdeghem, à bruges [sic.] en 1808'. Provenance: Baron Joseph van Huerne (gift to his grandson) - Joseph de Pelichy - Eyre & Hobhouse (exhibition: The Discovery of Nature, London 1983, item 59). This very fine original botanical watercolour is taken from a compilation of drawings made by Baron Joseph van Huerne in Belgium between about 1790 and 1820, which certainly included 135 (and probably about 170) original watercolour and gouache drawings bound in four albums, each with a manuscript title page 'Collection du Regne Vegetal, Arbres Forestiers et Fruitiers, leurs Fruits. &c' He employed the talents of at least five different artists. A secondary inscription notes the presentation of the albums 'Donné par son grand-Père mons. J. van Huerne à Joseph de Pelichy le 9 Avril 1831'. The albums subsequent history is unclear, but… Read More

Paris: Leloutre, 1830. Stipple-engraving, coloured by hand, by Darcis. A fine pair of French racing prints after one of the greatest French horse painters of the 19th century Vernet was a member of a prominent family of French painters. His father was a well-known marine painter, but Carle rose to fame during the Empire with his drawings of the Italian campaign and his paintings: "The Battle of Marengo" and "Morning of Austerlitz". During the Restoration he was popular as a lithographer and painter of dogs, horses, racing and scenes of the hunt. His son, Émile Jean Horace Vernet, 1789-1863 went on to become one of the most popular military painters of the 19th century.

[Paris], 1830. Aquatint, by Debúcourt (expert repairs to margins). A fine hunting print after one of the greatest French horse painters of the 19th century Vernet was a member of a prominent family of French painters. His father was a well-known marine painter, but his son, Carle Vernet, rose to fame under the empire with his drawings of the Italian campaign and his paintings The Battle of Marengo and Morning of Austerlitz. Under the Restoration he was popular as a lithographer and painter of dogs, horses, racing and scenes of the hunt. His son Émile Jean Horace Vernet, 1789-1863 went on to become one of the most popular military painters of the 19th century. Here he depicts the French sport of hunting for small game, on horse-back, with the aid of dogs: a pointer indicates to his master where the game is, and the hunter, riding a horse trained not to shy at the report of a gun, fires over his mount's left shoulder. A second dog, a retreiver, awaits the word of command.

Paris: chez l'Auteur & chez Ch. Bance, 1817. Oblong folio. (15 3/8 x 20 1/2 inches). 4 hand-coloured aquatint plates by Debucourt after Vernet. (Light foxing to one plate). Provenance: A. B. (contemporary ink initials in the upper right corner of each plate) A fine large-scale series of hand-coloured plates exhibiting Debucourt and Vernet's mastery of the genre print. The series consists of four views of scenes glimpsed "on the road." As usual with Vernet, the human figures are slightly caricatured, whilst the horses (in three of the prints) are beautifully observed. The plates are titled: Les Aveugles [The Beggars. Fenaille 407]; Route de St. Cloud [The St. Cloud Road. Fenaille 405]; Route de Poissy [The Poissy Road. Fenaille 404]; and Route de Poste [The Post Road. Fenaille 406]. According to Fenaille the series was eventually extended to include 12 large caricatures, published by Bance & Aumont between 1816 and 1823. Fenaille Catalogue de l'oeuvre gravé de Debucourt 404-407.

[Windsor Castle, 1848. Etching on paper, titled Albert, 21/9 and dated 1840 in the plate lower left just below image, India proof impression on original wove support sheet. An original etching by Prince Albert. A talented amateur artist, Queen Victoria took up etching as a hobby, introducing the art to her husband shortly after their marriage in 1840. The royal couple etched frequently for about four years, the Queen being the more prolific, producing sixty-two plates as against the Prince's twenty-five. Both Sir George Hayter and Sir Edwin Landseer taught the royal couple. The plates were etched at Windsor Castle, sometime with both Victoria and Albert working together on the same plate, and it is believed some proof impressions were pulled from a small press there. Some of the plates (though largely the proofs) were bit and printed by the Queen's dresser Marianne Skerrett, though most were re-bit and printed by Colnaghi. However, very few of each of the etchings were printed, the pastime being… Read More

[Windsor Castle, 1848. Etching on thick wove paper, very minor toning of paper throughout. An original etching by Prince Albert. A talented amateur artist, Queen Victoria took up etching as a hobby, introducing the art to her husband shortly after their marriage in 1840. The royal couple etched frequently for about four years, the Queen being the more prolific, producing sixty-two plates as against the Prince's twenty-five. Both Sir George Hayter and Sir Edwin Landseer taught the royal couple. The plates were etched at Windsor Castle, sometime with both Victoria and Albert working together on the same plate, and it is believed some proof impressions were pulled from a small press there. Some of the plates (though largely the proofs) were bit and printed by the Queen's dresser Marianne Skerrett, though most were re-bit and printed by Colnaghi. However, very few of each of the etchings were printed, the pastime being largely for the royal couple's own amusement. "The etchings offer a picture of the… Read More

Vienna: Artaria & Co, 1820. Watercolour over etched line, image within a black ink border, captioned in the lower margin, printed on wove paper watermarked J. Whatman. Plate mark: 19 1/4 x 28 3/8 inches. Sheet size: 21 1/2 x 31 inches. Beautifully hand coloured early 19th century view of Vienna. In this lovely view of the city from the south, the foreground is composed of a bucolic setting, with a farmers and tradesmen hauling their wares along a road into the city, passing a shepherd with his flock. The city in the distance is dominated by St. Stephen's Cathedral, with Karlskirche visible as well as other notable buildings.