Search Results: Titles starting with B from Donald Heald Rare Books

New York: Garrett & Co, 1848. 8vo. 8 3/4 x 5 1/2 inches. 194pp. Half morocco in brown cloth, raised bands into six compartments with gilt center design, gilt title. Extremely scarce first edition of a classic New York dime novel by a master of the genre. Not seen on the market since 1977. This sequel to The Mysteries of New York, by Ned Buntline (aka Edward C.Z. Judson) fueled the craze for "city mystery" fiction pioneered by Eugène Sue and George Lippard. B'Hoys of New York takes readers through a wild adventure that includes "pirates" on the Hudson River, among other colorful characters. A very scarce copy from the antebellum popular press. The American Antiquarian Society has the later edition from 1859, while another copy from 1848, at the Huntington Library, was issued by a different publisher. The only other copy from the rarer Garrett & Co. edition was last sold over 45 years ago. Wright, L.H. American fiction, 1774-1850 (2nd ed.), 1514.

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size: 19 x 12 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx). [Pl. 165]. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was… Read More

New York: Henry I. Megarey, 1822. Aquatint, coloured by hand, by John Hill, after W.G. Wall. A great example of one of the earliest and finest American printed landscape. "In the summer of 1820 the Irish-born and trained landscape artist William Guy Wall (1792-after 1864) went on an extended sketching tour of the Hudson River Valley and its environs. A selection of Wall's watercolors recording sights on his tour was engraved by the master printmaker John Hill (1770-1850) in The Hudson River Portfolio, published in New York City by Henry J. Megarey between 1821 and 1825. Long considered a cornerstone in the development of American printmaking and landscape painting, its twenty topographical views cover roughly 212 miles of the 315-mile course of the Hudson River. This undertaking paved the way for a wider public appreciation of landscape in the United States. The first series of prints to make Americans aware of the beauty and sublimity of their own scenery, the seminal Portfolio helped to stimulate… Read More

London: Chatto & Windus, 1875. Hand-coloured lithograph mounted on card within ink-ruled frame. Image size: 11 15/16 x 17 11/16 inches. Card size: 17 5/8 x 21 1/4 inches. A fine image showing a scene of "a beautiful and exciting game" from Catlin's 'North American Indian Portfolio', one of the most important accounts of Indigenous American life. "Amongst the forty-eight tribes which I have visited," Catlin writes, "I find the game of Ball everywhere played; and to my great surprise, by tribes separated by a space of three thousand miles, played very nearly in the same manner; the chief difference consisting in the different construction of the ball-sticks used - the modes of laying out the ground - and painting and ornamenting their bodies. In most of the tribes there are certain similar regulations as to dress, ornaments, &c., which no one is allowed to depart from; and in the three portraits given in the illustration here, these peculiar and general modes are all set forth. Amongst all the tribes… Read More

London: Printed for Thomas M'Lean, Haymarket by Howlett and Brimmer, 10 Frith Street, 1825. Coloured aquatint. Printed with publishers details and dated 1824. In excellent condition. Framed in attractive wood and gold frame with cream wash-line mat. Image size: 5 x 8 1/4 inches. A pretty aquatint depicting two hunters shooting fowl, from Henry Alken's celebrated book "The National Sports of Great Britain". This charming print by Henry Alken comes from a book entitled "The National Sports of Great Britain". The book is comprised of fifty coloured aquatints of sporting scenes with an accompanying text. Published in 1824 by Thomas McLean, the images vary in subject from Bull baiting to Otter hunting. This charming print is seventh in a series of shooting prints. Henry Thomas Alken was born into what became an artistic dynasty. He studied under the miniature painter J.T. Barber and exhibited his first picture (a miniature portrait) at the Royal Academy when he was sixteen. From about 1816 onwards he… Read More

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size: 18 3/8 x 15 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx). [Pl. 385]. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography… Read More

Washington D.C.: Published by the United States Coast and Geodetic Survey, 1920. Large folding nautical chart, printed on heavy paper stock. Uncolored. A rare original coastal survey of Barataria Bay area and includes Grand Isle and other barrier islands Fifi island, Grande Terre Island, Port Fourchon, and Terrebone Bay. Established by President Thomas Jefferson in 1807 as the Survey of the Coast, the U.S. Coast and Geodetic Survey was the United States' first civilian scientific agency. This agency has followed its mission to survey the U.S. coastline, create nautical charts of the coast, and help increase maritime safety since its founding, and has often played fascinating roles in significant chapters of U.S. history. It served in all theaters of the Civil War in the service of the Union Army and Navy, pioneered acoustic exploration in the wake of the sinking of the Titanic, and during WWI it worked to detect enemy submarines. In addition, this agency worked to survey and produce detailed maps… Read More

Washington D.C.: Published by the United States Coast and Geodetic Survey, 1920. Large folding nautical chart, printed on heavy paper stock. Colored. A rare original coastal survey of the Barataria Bay area and includes Grand Isle, Grand Terre Island, and the Mississippi River. Established by President Thomas Jefferson in 1807 as the Survey of the Coast, the U.S. Coast and Geodetic Survey was the United States' first civilian scientific agency. This agency has followed its mission to survey the U.S. coastline, create nautical charts of the coast, and help increase maritime safety since its founding, and has often played fascinating roles in significant chapters of U.S. history. It served in all theaters of the Civil War in the service of the Union Army and Navy, pioneered acoustic exploration in the wake of the sinking of the Titanic, and during WWI it worked to detect enemy submarines. In addition, this agency worked to survey and produce detailed maps and renderings of the U.S. coast. These… Read More

Vienna: Hof- und Staatsdruckerei, 1856. 'Nature printed' in brown ink, with titling and imprint in black, by the Vienna Hof- und Staatsdruckerei. A beautiful example from "most important work produced by nature printing ever published" (Stafleu). To the modern eye this plate has an almost photographic beauty to it, which, in aesthetic terms, foreshadows the work of the great early-20th century photographers such as Man Ray. However, this achievement is almost certainly incidental as von Ettingshausen's intention was to present a detailed anatomical portrait using the highly exacting method of nature printing. John Lindley writes "Attempts were long since made to obtain Botanical portraits by printing from the plants themselves, flattened and otherwise prepared for the purpose... The process of the Imperial Printing Office [Hof- und Staatsdruckerei] at Vienna, to which the name of Nature-Printing has been happily applied.. is a great improvement upon the old method, inasmuch as it represents not only… Read More

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size: 37 x 24 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx). [Pl. 171]. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was… Read More

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size: 18 1/2 x 11 1/2 inches. Sheet size: 39 3/8 x 25 3/4 inches (approx). [Pl. 173]. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour… Read More

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size: 24 1/2 x 35 3/4 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx). [Pl. 296]. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour… Read More

London: Published by Colen Campbell, 1725. Engraved by Henry Hulsbergh. On laid paper. Two repaired tears in the bottom margin, well outside image. From Colen Campbell's "Vitruvius Britannicus, or the British Architect." Vitruvius Britannicus is one of the great eighteenth-century English architectural works. It illustrates, in a way, the social revolution that occured in the first half of the 18th century under the governance of Robert Walpole. Noble country estates as grand as any in continental Europe appeared throughout the land. These are buildings of Classical formality and grandeur, implying familial and imperial permanence, vast, symmetrical palaces that preside over their surroundings. Colen Campbell (1676-1729) was a descendant of the Campbells of Cawdor Castle in Scotland. As an architect, he favored the Palladian style and, through his own designs and withVitruvius Britannicus , helped establish it as the dominant style in great buildings, both public and private, in England. This design… Read More

London: Published by George and George Townly Stubbs, 1794. Stipple with etching. State ii/iii, with the title in closed letters and engraved inscription: 'G. Stubbs Pinxt.*** Geoe Townly Stubbs Sculp't. Engraver to his /Royal Highness the Prince of Wales. / BARONET / London Publish'd Feby. 20th 1794, by Messrs Stubbs, Turf Gallery, Conduit Street.'. A lively portrait of the Prince of Wales's famous racehorse Baronet, by the master equine painter George Stubbs. George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own tuition. In contrast to contemporary academic theory, Stubbs' attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully… Read More

Washington D.C.: Published by the United States Coast and Geodetic Survey, 1919. Large folding nautical chart, printed on heavy paper stock. Uncolored. A rare original coastal survey of Bath and Boothbay Harbor including Bath, Georgetown, Boothbay, and Westport and Southport Islands. Established by President Thomas Jefferson in 1807 as the Survey of the Coast, the U.S. Coast and Geodetic Survey was the United States' first civilian scientific agency. This agency has followed its mission to survey the U.S. coastline, create nautical charts of the coast, and help increase maritime safety since its founding, and has often played fascinating roles in significant chapters of U.S. history. It served in all theaters of the Civil War in the service of the Union Army and Navy, pioneered acoustic exploration in the wake of the sinking of the Titanic, and during WWI it worked to detect enemy submarines. In addition, this agency worked to survey and produce detailed maps and renderings of the U.S. coast. These… Read More

Paris: Albert Levy, 1925. Folio. (12 5/8 x 9 3/4). 55 pp.,100 heliogravure plates. Introductory text and illustrations loosely bound together, plates loose. Loose as issued in publisher's portfolio with silver gilt titles and deco design and green paper boards. Art deco building and landscape architecture from 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, the World's Fair of design. Introductory text booklet with illustrations paired with plates covering the buildings and landscapes designed for the Exposition Internationale des Arts Décoratifs et Industriels Modernes, the World's Fair of design. Held in 1925 in Paris, this was the first since WWI and was the exhibition that defined Art Deco (an abbreviation of Art Décoratifs). Author Michel Roux-Spitz (1888-1957) was a French architect closely tied to the art deco movement. Influenced by Auguste Perret, he created a unique spin off of his style that he repeated through several works known as the "White Series"… Read More

1866. Mounted albumen photograph on contemporary card mount. Manuscript caption below the image. Half-inch closed tear in lower margin. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's… Read More

1866. Mounted albumen photograph, approximately 10 3/4 x 14 1/4 inches, on contemporary card mount. Manuscript caption below the image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's… Read More

1866. Mounted albumen photograph on contemporary card mount. Manuscript caption below the image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century… Read More

Philadelphia: Original published by William Smith, 1950. Hand-coloured engraving, engraved by Murray, Draper, Fairman & Co. Beautifully printed in the mid 20th-century from the original 19th-century copper plate, with wide margins, on hand-made paper. The Battle of Lake Erie was the first naval engagement of the War of 1812. The British had gained control of the lake in August 1812, when General Hull surrendered at Detroit. Among those captured was a master ship-builder from Erie, Pa., named David Dobbins. After his release from custody, Dobbins went to Washington and persuaded the U.S. Government to literally build a naval fleet on Lake Erie, in order to challenge the British for its control. Dobbins then went immediately to Erie and rapidly constructed six ships. Meanwhile, five more ships were sailed to Erie, making a fleet of eleven. In September 1813, Oliver Hazard Perry took command of nine of these ships, and set off to engage the British fleet, which was captured after three hours of fierce… Read More