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

Boston: Crosby, Nichols & Company, 1848. Folio. (16 7/8 x 12 1/2 inches). 16 lithographed plates by F. F. Oakley's Litho. or S. W. Chandler & Bro. Litho. after Isaac Sprague. Original green cloth, upper cover with gilt-blocked decorative vignette containing the title, rebacked to style using matching cloth. A classic series of landscape views set in New Hampshire and Maine. The lithographed plates comprise: 1) The White Mountains; 2) Mount Crawford; 3) The Notch of the White Mountains; 4) The Lower Cascade of the Notch; 5) The Gate of the Notch; 6) The Falls of the Amonoosuck; 7) The Granite Cliffs of the Falls (two views on one plate); 8) The Franconia Notch; 9) Profile Mountain at Franconia; 10) The Profile Rock; 11) The Basin, in Lincoln, N.H.; 12) The Flume, in Lincoln, N.H.; 13) Nancy's Bridge; 14) Mt. Crawford, from the Notch (two views on one plate); 15) Mount Washington (two views on one plate); and 16) Mt. Washington, over Tuckerman's Ravine. Howes O1; Sabin 56387.

Trenton: D. Fenton, 1811. 12mo. 226 pp. Late nineteenth century half morocco. Title page toned, Life in title overwritten in ink. First edition of this remarkable picaresque history, with many travels through the South between 1800 and 1808. Born in Germany in 1781, Oehler claimed he arrived in Baltimore in 1800 as a bound tailor; escaped to become a dancing master in Alexandria and then a fencing master in Port Tobacco, Maryland; then went to Santo Domingo, where he says he served with Toussaint; Egypt; China; Charleston, South Carolina, in 1802; then Columbia, Augusta, and Nashville. In 1805 and 1806 he experimented with ballooning in Nashville and Natchez (an ad in a Natchez newspaper for 1806 corroborates this part of the sometimes incredible tale). In New Orleans he claims to have learned "Legerdemain," by which he paid his debts, but which got him thrown in jail in Mexico. He gives a long account of his sojourn, in and out of jail, in Mexico. Returning to the U.S., he made two trading… Read More

London: Printed by the Author, and are to be had at his House in White Fryers, 1671. Folio. (15 1/2 x 9 3/4 inches). First edition, first issue. [X1] A-Ppp4. [10] 1-674 [2]. 686 pp. 57 maps, plates, and portraits, including 6 single-page portraits, 32 double-page or folding views, and 18 folding maps; with 66 in-text engraved illustrations and woodcut initials and head and tailpieces. Engraved frontispiece. Title printed red and black. Catalog of authors. Table of contents. First book: Chapters I-III, Second book: Chapters I-XVIII. Third book: Chapters I-IX. Appendix Chapters I-V. List of Plates. Expertly bound to style in period quarter calf with tips on marbled paper boards, six raised bands forming seven gilt-ruled compartments on spine with gilt-lettered red morocco lettering-piece in second First edition, first issue of Ogilby's important work; this example with the rare map of Barbados. America is Ogilby's English translation of Arnold Montanus's De Nieuwe en Onbekende Weereld [The New and… Read More

London: Mitchell and Hughes, 1894. 3 volumes, folio. (14 3/4 x 9 1/2 inches). Vol. 1: (160), 316 pp., Vol. 2: 405 pp., Vol. 3: 407 pp. Titles in red and black, half-titles. 25 plates and maps (including 1 hand-coloured folding lithographed map, 1 large folding uncoloured lithographed map, 2 double-page coloured lithographed maps, 3 double-page plates, 18 single-page plates, portraits, maps and estate plans). Original reddish-brown cloth stamped in gilt, top edge gilt. First edition of a monumental work of Caribbean history, limited to 150 copies. Oliver's historical account of Antigua stands as a crucial and invaluable resource for understanding the complex history of the West Indies. Its contents not only encompass a comprehensive overview of the Caribbean islands but also cover the intricate histories of influential British families that established roots in Antigua during the 19th century and earlier periods. Beyond its specific focus on Antigua, Oliver's work emerges as a fundamental tool for… Read More

London: John & Josiah Boydell, 1796. Stipple engraving, by C.G. Playter, finished by R. Thew. A very fine copy of one of the greatest images from Boydell's magnum opus, illustrating the works of England's greatest dramatist. "This is Shakespeare on a grand scale, the Shakespeare of titanic emotion, of compelling gesture and vivid gaze... the greatest of the engravings... are by any standard powerful works with an inescapable emotional force behind them. They speak directly to us." (A.E.Santaniello. The Boydell Shakespeare Prints New York, 1979). Opie, a Cornish-born painter of great natural talent, was first brought to wide public attention by William Walcot ('Peter Pindar') and worked for a while in partnership with him. However, by the time the original for the present work was painted he was established in his own right and 'he was largely employed in painting pictures for the important illustrated works of the day. For Boydell's Shakespeare (1786-9) he painted Arthur supplicating Hubert, Juliet… Read More

London: Published by Js. Bretherton, 1797. Hand-coloured aquatint by C. Rosenberg after Orde. The second of a pair of images of the `longest and most determined engagement ever fought' (Parker) `The Blanche frigate, Captain R. Faulknor, while off Pointe-à-Pitre, Guadaloupe, on... [4 January 1795], engaged the French frigate Pique. The fight having lasted an hour, the Pique fouled the Blanche, and the Frenchman made several attempts to board, but each time gallantly repulsed. Then the English sailors lashed the bowsprit of the Pique to the stump of the Blanche's mainmast, and towed her before the wind. To bring more guns into play, part of the stern of the main deck of the Blanche was blown out, but it was not until the action had lasted seven hours... that the Pique surrendered.' (Parker p.111) Cf. Parker 105b (pair of prints).

London, 1795. Colour printed stipple engraving with additional hand-colouring. In good condition with the exception of some small expert repairs. Lower margin repaired with loss of imprint. Image size: 16 3/4 x 22 5/8 inches. An unusually richly coloured image after Morland: 'a master of genre and animal painting, an artist worthy to be placed in the same rank as the best of those Dutch masters whom he studied as a boy' (DNB) George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many… Read More

London: Edward Orme, 1807. Aquatint engraving, coloured by hand, by Thomas Vivares and Henri Merke. A fine image from 'Orme's Collection of British Field Sports': "the finest and most important sporting book of the last two centuries" (Schwerdt) Samuel Howitt, "genius, artist, sportsman", concentrated his considerable artistic talents on picturing scenes of horse-racing and hunting in all its aspects. Born in Nottinghamshire, England, Howitt was largely self-taught ,"although he must have been helped by his companions George Morland, Rowlandson and John Raphael Smith. Howitt's watercolours of hunting, shooting and racing have delightful spontaneity. An enthusiastic sportsman himself, he had sufficient family money to paint at first only for his own and his friends' pleasure. However, this fortune was quickly dissipated and Howitt moved to London... [He made a living], partly by etching at which he was extremely skilled. As an artist he was prolific. more than 150 of his designs were published in The… Read More

London: J.G. Barnard for the author, Longman & Co. [etc], 1807. Folio. (15 x 10 1/2 inches). Uncut, parallel text in English and French, half-title, 8pp. list of subscribers. Engraved additional title, 16 plates after Orme (10 hand-coloured engravings or aquatints [7 of these with colour on verso], 5 uncoloured engravings or aquatints [one of these double-page], 1 plate with six mounted shaped paper samples), 5 tailpieces (3 engraved, 2 wood-engraved). Expertly bound to style in blue straight-grained half morocco, the flat spine in seven compartments divided by fillets and roll tools, lettered in the second compartment, the others with repeat pattern of a centrally-placed stylized flowerhead within a lozenge outlined with double fillets, small roundel cornerpieces A very fine uncut copy of the first edition of this rare, curious and beautiful book on a fashionable pursuit from the turn of the nineteenth century. In this detailed and beautifully illustrated monograph Orme not only describes his own… Read More

London: Edward Orme, 1807. Aquatint engraving, coloured by hand, by James Godby and Henri Merke (watermark: 'J. Whatman 1805'). A fine image from 'Orme's Collection of British Field Sports': "the finest and most important sporting book of the last two centuries" (Schwerdt) Samuel Howitt, "genius, artist, sportsman", concentrated his considerable artistic talents on picturing scenes of horse-racing and hunting in all its aspects. Born in Nottinghamshire, England, Howitt was largely self-taught ,"although he must have been helped by his companions George Morland, Rowlandson and John Raphael Smith. Howitt's watercolours of hunting, shooting and racing have delightful spontaneity. An enthusiastic sportsman himself, he had sufficient family money to paint at first only for his own and his friends pleasure. However, this fortune was quickly dissipated and Howitt moved to London... [He made a living], partly by etching at which he was extremely skilled. As an artist he was prolific, more than 150 of his… Read More

New York, 1861. Engraving. Plate mark: 25 x 18 1/2 inches. Minor foxing. Large format Civil War portrait of McClellan. Scarce first state; after McClellan was dismissed by Lincoln from command of the Army the plate was changed to "Late Maj. Gen..." This impressive portrait of McClellan on horseback, evidently rushed to publication soon after he became the commanding officer of the Union Army in November 1861, was actually a reworking if an 1852 portrait of Franklin Pierce depicting his service in the Mexican War, with McClellan's face superimposed on Pierce's body. See Milton Kaplan, "Heads of State" in Winterthur Portfolio 6: 1970: 135-44.

20th century. Watercolour on rice paper, inscribed "Yama-Dori" with Japanese characters. Framed (designed by William Haines). Ink and colors on paper, inscribed 'Yama-Dori' (male mountain bird), mounted in a plexiglas and white painted wooden frame designed by William Haines Framed size: 15 1/4 inches high, 53 1/2 inches wide.

1873. Albumen silver print from glass negative on publisher's printed mount. In this captivating photograph, the realms of American art history and the West converge, illuminating the profound narratives of westward expansion. Crafted by the visionary lens of Timothy O'Sullivan, whose photographic journey began documenting the harrowing scenes of the Civil War under Mathew Brady's tutelage, this image gives viewer a glimpse at an important part of the long history of western United States. O'Sullivan's lens, once focused on battlefields, now turns toward survey teams exploring uncharted territories, playing a pivotal role in shaping the nation's destiny. From mapping future railroad routes to unearthing geological wonders, his pioneering work became an indispensable part of the knowledge systems that enabled the settlement and development of the West. Commissioned for Lt. George M. Wheeler's ambitious survey of the 100th Meridian, O'Sullivan's distinct style merges seamlessly with the survey's… Read More

London: Thomas McLean, 1852. Folio. Lithographed title, dedication to Prince Albert with list of plates on verso, 26 tinted lithographed plates, lithographed plan. Expertly bound to style in dark blue morocco backed period cloth covered boards, large central morocco label on the upper cover, flat spine lettered in gilt, glazed yellow endpapers and pastedowns. Among the rarest lithographed view books concerning South America. "In 1823 Ousley was transferred to Rio as secretary, and in 1838 was promoted to charge d'affaires. He was sent on a mission to Uruguay and Argentina in 1844 and returned to England in 1850 ... After he had returned to England, via the United States, he wished to publish a collection of drawings and watercolous of Brazil and the Rio de la Plata. The selection was made by Queen Victoria. This rare and valued album contains very pictureque lithographs" (Borba de Moraes). Published in 1852 and issued as tinted lithographs, like the present, for £4.4s, or hand coloured at… Read More

Madrid: Imprenta de la Real Academia de la Historia, 1855. 4 vol. Folio. (12 7/8 x 9 inches). With half-titles, 15 lithographed plates total, 3 of which are folding, 1 of which is in colour. [Vol I:] (ii), cxii, (1), 632, (2) pp. 5 plates. [Vol II:] vii, (i), 511, (3) pp. 2 plates (1 folding). [Vol III:] viii, 651, (3) pp. 2 plates. [Vol IV:] viii, 619, (3) pp. 5 plates (1 folding and in colour). Dark brown half morocco and marbled paper boards, spines with raised bands in 6 compartments, lettered and ruled gilt, marbled endpapers. Uncut An attractive and uncut set of one of the great 16th century eyewitness accounts of the Spanish settlement of the New World, here published in its complete form for the first time. This opus represents an exhaustive chronicle of the initial Spanish forays into and colonization of the Americas, with a particular focus on the Caribbean and Central America. Penned by Gonzalo Fernández de Oviedo during the early 16th century, his narrative spans a spectrum of themes… Read More

[Various places, 1920. Approx. 50 handwritten letters, 12 typed letters, 32 printed documents, 5 handwritten documents, 1 architectural plan, 6 photographs. A fascinating archive of letters and documents related to Dr. C.W. Owen, medical adviser to the Maharaja of Patiala and the Commander-in-Chief of India. Dr. C.W. Owen served in the Afghan War from 1879-80 and established a Charitable Dispensary in Kabul City before continuing his career as a surgeon and medical adviser to government officials in colonial India. Beginning in 1893, he was the surgeon to the Commander-in-Chief in India, Frederick Roberts, one of the most successful British military commanders of his time and medical adviser to the Maharaja of Patiala, Rajinder Singh, who was awarded the Grand Cross of the Star of India in 1897 and was known for being very active in polo, field hockey, and cricket. Owen was appointed to the Order of St. Michael and St. George for his services in the military and in India. The archive includes… Read More

London: Printed by Richard Taylor ... Sold by W. Wood, 1832. 4to. (11 1/8 x 9 inches). 68pp. 8 plates (of which 1-7 are in two states). Original cloth, gilt titling to spine. Provenance: Marie V. Lebour (bookplate) First edition. Sir Richard Owen was a prominent biologist and paleontologist who was widely regarded as one of the greatest naturalists of the Victorian era. He produced numerous publications throughout his life, and this was his first monograph. Owen's detailed anatomical descriptions were based on a single specimen with intact parts (while the animal was previously known only from its distinctive shell). The work includes chapters on the morphology of the shell and various body systems; Owen also modified Cuvier's systematics, proposing two orders of Cephalopoda. The beautifully-executed plates were drawn by Owen himself, and each plate except the last is accompanied by an opposing index plate which corresponds to descriptions in the text. This copy is with provenance to Marie… Read More

London: W. Say, 1808. Mezzotint, printed in colours, with touches of hand-colouring, by William Say (cut to plate mark and expertly re-margined to top and sides). Title margin fo. A beautiful composition expertly rendered by one of the greatest mezzotinters of his time. William Owen "was sent in 1786 to London, where he became a pupil of Charles Catton, R.A., the coach-painter. Soon afterwards he attracted the notice of Sir Joshua Reynolds, whose picture of Perdita he had copied, and he was indebted to Reynolds for some valuable advice. He entered the Royal Academy as a student in 1791, and his earliest exhibited works... appeared in the exhibition of 1792; and in each succeeding year, except 1823, he contributed portraits and occasional rustic subjects. Some of the most eminent men of the day were among his sitters, and his portraits were truthful and characteristic...Owen was elected an associate of the Royal Academy in 1804, and an academician in 1806... In 1810 he was appointed portrait-painter… Read More