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

[London], 1839. Lithograph by Shotter Boys. Printed in colours by Charles Hullmandel, deluxe edition, trimmed to the subject as issued, mounted on archival mount. A very fine image from Boys' 'Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c': ''a work of exceeding beauty' (Abbey) and one of the most important in the history of English colour-printing. This print represents part of what was the first serious challenge to the supremacy in England of the hand-coloured aquatint. The plates in Boys' Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c 'are produced entirely by means of lithography: they are printed with oil-colours, and come from the press precisely as they now appear.' As detailed in the Descriptive Notice, it was strictly stipulated by the publisher that no colour be added, and goes on to state that previous attempts at chromolithography had suffered from an unnatural flatness 'whereas in these views, the various effects of light and shade, of local colour and… Read More

Venice: Giuseppe Rossi, 1805. 2 volumes, octavo. (7 3/4 x 4 3/4 inches). [xvi], 443; [xxii], 287, [1, blank] pp. 6 folding engraved plates. Contemporary half calf and marbled paper boards, spine gilt with tan and red morocco lettering pieces. Provenance: Rothamsted Agricultural Station (inked stamp on endpapers) A handbook for Italian farmers. Cosimo Trinci was an Italian agronomist active in the 18th century. "L'Agricoltore Sperimentato" or "The Experienced Farmer" was originally printed in Lucca in 1726 and is considered to be his masterpiece. For over a hundred years, this work was widely used as a guide by farmers who held Trinci in high esteem.

Paris: chés l'Auteur rue St. Jacques à l'Enseigne de la Place des Victoires, 1742. Copper-engraved map, period hand colouring in outline. A rare depiction of the mythical Sea of the West. This unusual mapping of North and South America, dedicated to John Law of Mississippi Bubble infamy, includes several mythical elements, including the Sea of the West, Florida as an archipelago and the Riviere Longue. Also of interest is the mapping of islands in the South Pacific, including a much enlarged depiction of New Zealand after Tasman.

Paris, 1746. Copper-engraved map, period hand-colouring in outline. Table at the bottom left. Mid-18th century French map of North and South America showing the latest Russian and English discoveries in the Arctic: one of the earliest depictions of the discoveries of Bering's second expedition. This decorative map by Le Rouge shows North and South America, with the discoveries of Charlevoix and Condamine added in Canada and the Amazon, respectively. Interestingly, it also shows Aleksei Chirikov's discoveries on the northwest coast during Bering's second expedition, as well as Middleton's Repulse Bay in the Arctic. Concerning the former, Wroth writes: "In 1746 the royal geographer, George Louis Le Rouge, brought out a map entitled L'Amerique, in the northwest corner of which is shown a portion of the 1741 routes of Chirikov and De L'Isle de la Croyere to and from the American coast, the earliest cartographical record, it seems from present knowledge, of the American discoveries of the second Bering… Read More

Amsterdam & Leipzig: Chez Arkstée et Merkus, 1764. Oblong folio. (10 1/2 x 16 1/2 inches). Engraved title, dedication, advertisement leaf. 56 pages of text plus a list of plates and 59 PLATES - COMPLETE. The plates are 4 of bits and 55 of horses and riders. Plates engraved by Bernard Picart. Handsomely leather bound in full period calf. One of the seminal decorative eighteenth-century horse books. The earlier edition of this work was titled "Description du Manege Moderne." This second issue comes with a Dictionnaire des Termes dated 1747 with title and 76 pages. This copy comes with an additional title: "Anti-Maquignonage pour eviter la surprise dans l'emplette des chevaux...," dated 1764 with title in red and black, dedication, 52 (1) pages and 7 of 9 plates. The Baron Eisenberg, a German horseman and artist, spent some of his youth at the stables of Saxe-Weimar before entering into the service of the Emperor. He then spent six years in Naples as the Master of Horse of the Viceroy before… Read More

Paris: Editions Vincent, Fréal & Cie, 1953. 2 vols.; small 4to. (8 11/16 x 6 1/4 inches). Vol. I: 120 pp.; Vol. II: 165 pp.; with 149 black and white plates. Pages uncut. Text in French. Original publisher's stiff blue wrappers. A French classic on the history of garden design Georges Gromort, a prominent French architect and urban planner, left an indelible mark on the world of landscape architecture in the early 20th century. Recognized for his significant contributions to garden design, Gromort's ideas continue to influence the field to this day. Born in 1885, Gromort honed his craft at the prestigious École Nationale Supérieure des Beaux-Arts in Paris. It was there that he developed a deep appreciation for the principles of classical garden design, working alongside renowned landscape architect André Le Nôtre. His teachings emphasized the delicate balance between architectural elements and the natural environment, advocating for the seamless integration of gardens into urban landscapes.… Read More

Paris: Published by Verlag von Goupil Cie., Berlin, Coupil et Co., New York, Goupil et Cie. Paris et London, 1854. Hand-coloured lithograph. Goupil Publishers blindstamp, Paris. Good condition apart from some overall light foxing and a 2" loss in the bottom right corner. A fine plate from the series 'Les Touristes', which chronicled Guérard's trip through Switzerland, Savoy and Bavaria. Set in a congested street of the German town of Schopfheim, this image depicts several weary travellers arriving at the Gros Coq hotel only to find out that no rooms are available. Born in Nancy, France in 1821, Eugene Guérard was primarily known as a genre and landscape painter, draughtsman, and watercolourist. After briefly studying in the workshop of Pierre Dieudonné in Lorraine, he moved to Paris in 1838, where he trained at the École des Beaux-Arts with the renowned French history painter Paul Delaroche. He exhibited many of his paintings at the Salon and was a prolific draughtsman who published several… Read More

Paris: Debure Pere, 1767. Quarto. (11 1/4 x 8 1/2 inches). Half-title. xii, [4], 464pp. 31 engraved plates, engraved by and after Martinet, including the allegorical frontispiece. Contemporary mottled calf, covers bordered in blind, spine with raised bands in six compartments, red morocco lettering piece in the second, the others with a repeat decoration in gilt. The first French edition of the ornithological portions of Ray's Synopsis methodica avium & piscium (London, 1713). A translation of John Ray's posthumous work in Latin, Synopsis Avium (1713), this edition greatly augmented by François Salerne with his own observations and others taken from Belon, Aldrovanus, Willughby, Gesner and Linnaeus. "The whole constitutes a work on ornithology of considerable value, furnishing a description of many species of birds, their habits, physical characters, vulgar names," (Wood) and other information. Of further note are the illustrations, engraved by and after Martinet. Anker 414; Cottrell 16l; Fine… Read More

London and Paris: a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257, 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834, which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it (after a fire) to reside at Whitehall. After that, the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly… Read More

1760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper, and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the… Read More

Paris: chez Daumont rue St. Martin, 1760. Engraving with original colour. Printed on watermarked laid paper. In excellent condition with the exception of some surface soiling in the upper section of the image. Image size: 8 7/8 x 15 13/16 inches. A wonderful "vue d'optique" of St. Mary's Church in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the… Read More

Paris: Moyreau, 1740. Hand-coloured engraving on laid paper by Moyreau. Very good condition apart from some overall light soiling and minor foxing, mild rippling, and slight discolouration of the paper due to age. A fine composition showing the hunting party refreshing themselves before embarking on the hunt. This beautifully coloured print is one of many engravings Jean Moyreau (1690-1762) made of Wouwerman's paintings. 'Born into a family of Dutch artists in Haarlem in 1619, the prolific draughtsman and painter Philips Wouwerman was primarily renowned for his lively battle and hunting scenes. After an early elementary introduction to the art of painting by his father, Paulus Joostens, he trained with the landscape painter Jan Wynants (1620-1679) and briefly worked in the Hamburg studio of the history painter Everard Decker (d. 1647) around 1638. Wouwerman later returned to Haarlem, where he joined the Guild of St. Luke, which later elected him to the office of vinder in 1646. His elegantly… Read More

Paris: chez Gersaint et chez Surugue, 1747. Engraving, printed on laid paper. Very good condition with the exception of some repair in the bottom right hand corner of sheet. Image size: 13 7/8 x 19 inches. A charming arabesque depicting a group of children playfully engaged in an argument, from Moyreau's "Oeuvres Des Estampes Gravées d'après Les Tableaux & Desseins de feu Antoine Watteau." Born in Valenciennes in 1684, the versatile artist Jean-Antoine Watteau was primarily renowned for his fête galante paintings depicting aristocratic men and women amorously conversing in the outdoors. Following a brief apprenticeship to the local painter Jacques-Albert Gérin, Watteau moved to Paris in 1702 where he later studied with Claude Gillot, scene painter for the comédie italienne, who introduced him to the commedia dell'arte, which later became a recurrent theme in his work. In 1708, he began to work with the decorator Claude Audran, under whose tutelage he produced several innovative ornamental… Read More

[London], 1839. Lithograph by Thomas Shotter Boys. Printed in colours by Charles Hullmandel. (Small sections of margins torn away, not affecting image area). A very fine image from Boys' 'Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c': ''a work of exceeding beauty" (Abbey) and one of the most important in the history of English colour-printing. This print represents part of what was the first serious challenge to the supremacy in England of the hand-coloured aquatint. The plates in Boys' Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c 'are produced entirely by means of lithography: they are printed with oil-colours, and come from the press precisely as they now appear.' As detailed in the Descriptive Notice, it was strictly stipulated by the publisher that no colour be added, and goes on to state that previous attempts at chromolithography had suffered from an unnatural flatness 'whereas in these views, the various effects of light and shade, of local colour and general… Read More

Paris: Moyreau, 1747. Engraving, coloured by hand, by J. Moyreau. A fine composition, showing rural life in the Flemish low countries: a thatched cottage is seen to the right, in the foreground two men prepare a couple of pack-horses. One man talks to a women seated, who spines wool using a hand spindle. A traveller passes on a laden ass. In the doorway of the house a women plays with a young child. The title notes that the original painting was the same size as the engraving. 'Dutch painter and draughtsman. [Philips Wouwerman]... was the eldest son of the painter Paulus [Pauwels] Joostens Wouwerman of Alkmaar (d. 28 Sept 1642), whose two other sons, Pieter Wouwerman and Johannes Wouwerman, also became painters. Philips probably received his first painting lessons from his father, none of whose work has been identified. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals, although no trace of Hals's influence is discernible in Wouwerman's work. Wouwerman is also reputed to… Read More

Paris: Tessari et Co, 1800. Engravings, printed in colours and finished by hand, by Duthé, after 'Huet fils'. A beautifully composed image recalling the bounty that the Fall brings, after an original by one of the three sons of Jean-Baptiste Huet. The beautifully observed wicker-work basket bulges with the fruits of the harvest, their weight has made the container unsteady and some of the contents have spilled out onto the slate shelf on which this veritable cornucopia rests. A snail and a hornet investigate: apples, pears, grapes, chestnuts, cherries, tomatoes, white currents and a pomegranate are all available. This highly decorative image is from an original by 'Huet fils' (i.e. 'Huet son'). This narrows the field to three artists, all members of the highly talented French family whose members were active between about 1740 and 1830. Jean-Baptiste Huet (1745-1811) had three sons, all of whom are possible candidates: Nicolas Huet II, born in 1770, who flourished as an artist between about 1788… Read More

Paris: Moyreau, 1741. Hand-coloured engraving on laid paper by Moyreau. Very good condition apart from some overall light soiling and minor foxing, mild rippling, and a small stain in the top right corner of the sheet. A few small brown and black spots in the left margin. A fine composition showing a soldier or cavalryman returning home to his family. This beautifully coloured print is one of many engravings Jean Moyreau (1690-1762) made of Wouwerman's paintings. Born into a family of Dutch artists in Haarlem in 1619, the prolific draughtsman and painter Philips Wouwerman was primarily renowned for his lively battle and hunting scenes. After an early elementary introduction to the art of painting by his father, Paulus Joostens, he trained with the landscape painter Jan Wynants (1620-1679) and briefly worked in the Hamburg studio of the history painter Everard Decker (d. 1647) around 1638. Wouwerman later returned to Haarlem, where he joined the Guild of St. Luke, which later elected him to the… Read More

Paris: Moyreau, 1748. Engraving, coloured by hand, by J. Moyreau. A fine composition, showing life on the road in the Flemish low countries: two travellers wait outside a farrier's shop. One of their horses had thrown a shoe and the farrier prepares the hoof whilst his assistant runs out from the shop with a new shoe clasped in a pair of iron tongs. Meanwhile life continues round about. The title notes that the original painting was 23 inches high by 19 wide. 'Dutch painter and draughtsman. [Philips Wouwerman]... was the eldest son of the painter Paulus [Pauwels] Joostens Wouwerman of Alkmaar (d 28 Sept 1642), whose two other sons, Pieter Wouwerman and Johannes Wouwerman, also became painters. Philips probably received his first painting lessons from his father, none of whose work has been identified. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals, although no trace of Hals's influence is discernible in Wouwerman's work. Wouwerman is also reputed to have spent several… Read More

London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition with the exception of a few expertly mended tears on the top edge of sheet. A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage. An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey. Cf. Brunet I.1700; cf. Mellon Books on the Horse and… Read More

Paris: Moyreau, 1762. Hand-coloured engraving on laid paper by Moyreau. Very good condition apart from some overall light soiling, minor foxing, and a bit of mild rippling. A fine composition showing a group of cavalrymen congregating oustide of a duck merchant's cottage. This beautifully coloured print is one of many engravings Jean Moyreau (1690-1762) made of Wouwerman's paintings. Born into a family of Dutch artists in Haarlem in 1619, the prolific draughtsman and painter Philips Wouwerman was primarily renowned for his lively battle and hunting scenes. After an early elementary introduction to the art of painting by his father, Paulus Joostens, he trained with the landscape painter Jan Wynants (1620-1679) and briefly worked in the Hamburg studio of the history painter Everard Decker (d. 1647) around 1638. Wouwerman later returned to Haarlem, where he joined the Guild of St. Luke, which later elected him to the office of vinder in 1646. His elegantly rendered, distinctive works, which are… Read More