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1840-48 John Gould Antique Print Birds of Australia, Torres Straits Crested Tern

1840-48 John Gould Antique Print Birds of Australia, Torres Straits Crested Tern

  • Title : Prion Turtur....J Gould. H C Richter....Hullmandel Imp...
  • Size: 21 1/2in x 14 1/2in (490mm x 370mm)
  • Condition: (A+) Fine Condition
  • Date : 1840-48
  • Ref #:  93105

Description:
This beautiful original hand coloured antique lithograph print of the Torres Straits or Crested Tern by John Gould and Henry Constantine Richter, after the drawing of Elizabeth Gould, was published in The Birds of Australia by John Gould between 1840 & 1848.
This, as with all Goulds prints, is of exceptional quality with exquisite hand colouring. This print is also accompanied by the original text page.

Henry Constantine Richter 1821 – 1902 was an English zoological illustrator who produced a very large number of skilful coloured lithographs of birds and mammals, mainly for the scientific books of the renowned English 19th century ornithologist John Gould.
Many of the original drawings used by Richter as the basis for his coloured lithographs were by Goulds wife, Elizabeth Coxen, produced before her death in 1841.
Richters reputation was overshadowed by that of his much-celebrated employer. Since it was not customary to acknowledge illustrators alongside authors in the titles of publications, his name was forgotten. But in 1978 his great ability and the extent of his contribution to Goulds work came to light, in the work of the researcher Christine E Jackson.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink, brown, white
General color appearance: - Authentic
Paper size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Plate size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light age toning in margins
Plate area: - None
Verso: - None

Background: 
The Birds of Australia was a book written by John Gould and published in seven volumes between 1840 and 1848. It was the first comprehensive survey of the birds of Australia and included descriptions of 681 species, 328 of which were new to science and were first described by Gould.
Gould and his wife Elizabeth traveled to Australia from England in 1838 to prepare the book. They spent a little under two years collecting specimens for the book. John traveled widely and made extensive collections of Australian birds and other fauna. Elizabeth, who had illustrated several of his earlier works, made hundreds of drawings from specimens for publication in The Birds of Australia
The plates of the book were produced by lithography, Elizabeth produced 84 plates before she died in 1841, Edward Lear produced one, Waterhouse Hawkins contributed one and the remaining 595 plates were produced by H. C. Richter from Elizabeths drawings and were published under his name.
250 sets of the seven-volume work were printed.
In 1865 Gould published a revised and updated version of the text of The Birds of Australia in the two-volume Handbook to the Birds of Australia.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$375.00 USD
More Info
1840-48 John Gould Antique Print Birds of Australia - Dove or Antarctic Prion

1840-48 John Gould Antique Print Birds of Australia - Dove or Antarctic Prion

  • Title : Prion Turtur....J Gould. H C Richter....Hullmandel Imp...
  • Size: 21 1/2in x 14 1/2in (490mm x 370mm)
  • Condition: (A+) Fine Condition
  • Date : 1840-48
  • Ref #:  93105

Description:
This beautiful original hand coloured antique lithograph print of the Sea Bird, the Dove or Antarctic Prion by John Gould and Henry Constantine Richter, after the drawing of Elizabeth Gould, was published in The Birds of Australia by John Gould between 1840 & 1848.
This, as with all Goulds prints, is of exceptional quality with exquisite hand colouring. This print is also accompanied by the original text page..

Henry Constantine Richter 1821 – 1902 was an English zoological illustrator who produced a very large number of skilful coloured lithographs of birds and mammals, mainly for the scientific books of the renowned English 19th century ornithologist John Gould.
Many of the original drawings used by Richter as the basis for his coloured lithographs were by Goulds wife, Elizabeth Coxen, produced before her death in 1841.
Richter\'s reputation was overshadowed by that of his much-celebrated employer. Since it was not customary to acknowledge illustrators alongside authors in the titles of publications, his name was forgotten. But in 1978 his great ability and the extent of his contribution to Goulds work came to light, in the work of the researcher Christine E Jackson.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink, brown, white
General color appearance: - Authentic
Paper size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Plate size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Birds of Australia was a book written by John Gould and published in seven volumes between 1840 and 1848. It was the first comprehensive survey of the birds of Australia and included descriptions of 681 species, 328 of which were new to science and were first described by Gould.
Gould and his wife Elizabeth traveled to Australia from England in 1838 to prepare the book. They spent a little under two years collecting specimens for the book. John traveled widely and made extensive collections of Australian birds and other fauna. Elizabeth, who had illustrated several of his earlier works, made hundreds of drawings from specimens for publication in The Birds of Australia
The plates of the book were produced by lithography, Elizabeth produced 84 plates before she died in 1841, Edward Lear produced one, Waterhouse Hawkins contributed one and the remaining 595 plates were produced by H. C. Richter from Elizabeths drawings and were published under his name.
250 sets of the seven-volume work were printed.
In 1865 Gould published a revised and updated version of the text of The Birds of Australia in the two-volume Handbook to the Birds of Australia.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$375.00 USD
More Info
1840-48 John Gould Antique Print Birds of Australia Broad Billed Prion, Sea Bird

1840-48 John Gould Antique Print Birds of Australia Broad Billed Prion, Sea Bird

  • Title : Prion Vittatus: Cuv....J Gould. H C Richter....Hullmandel & Walton Imp...
  • Size: 21 1/2in x 14 1/2in (490mm x 370mm)
  • Condition: (A+) Fine Condition
  • Date : 1840-48
  • Ref #:  93106

Description:
This beautiful original hand coloured antique lithograph print of the Sea Bird, Broad Billed Prion by John Gould and Henry Constantine Richter, after the drawing of Elizabeth Gould, was published in The Birds of Australia by John Gould between 1840 & 1848.
This, as with all Goulds prints, is of exceptional quality with exquisite hand colouring. This print is also accompanied by the original text page.

Henry Constantine Richter 1821 – 1902 was an English zoological illustrator who produced a very large number of skilful coloured lithographs of birds and mammals, mainly for the scientific books of the renowned English 19th century ornithologist John Gould.
Many of the original drawings used by Richter as the basis for his coloured lithographs were by Goulds wife, Elizabeth Coxen, produced before her death in 1841.
Richter\'s reputation was overshadowed by that of his much-celebrated employer. Since it was not customary to acknowledge illustrators alongside authors in the titles of publications, his name was forgotten. But in 1978 his great ability and the extent of his contribution to Goulds work came to light, in the work of the researcher Christine E Jackson.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink, brown, white
General color appearance: - Authentic
Paper size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Plate size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Birds of Australia was a book written by John Gould and published in seven volumes between 1840 and 1848. It was the first comprehensive survey of the birds of Australia and included descriptions of 681 species, 328 of which were new to science and were first described by Gould.
Gould and his wife Elizabeth traveled to Australia from England in 1838 to prepare the book. They spent a little under two years collecting specimens for the book. John traveled widely and made extensive collections of Australian birds and other fauna. Elizabeth, who had illustrated several of his earlier works, made hundreds of drawings from specimens for publication in The Birds of Australia
The plates of the book were produced by lithography, Elizabeth produced 84 plates before she died in 1841, Edward Lear produced one, Waterhouse Hawkins contributed one and the remaining 595 plates were produced by H. C. Richter from Elizabeths drawings and were published under his name.
250 sets of the seven-volume work were printed.
In 1865 Gould published a revised and updated version of the text of The Birds of Australia in the two-volume Handbook to the Birds of Australia.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$375.00 USD
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1840-48 John Gould Antique Print Birds of Australia....Blue Petrel...Sea Bird

1840-48 John Gould Antique Print Birds of Australia....Blue Petrel...Sea Bird

  • Title : Procellaria Coerulea: G Mel....J Gould. H C Richter....Hullmandel & Walton Imp...
  • Size: 21 1/2in x 14 1/2in (490mm x 370mm)
  • Condition: (A+) Fine Condition
  • Date : 1840-48
  • Ref #:  93104

Description:
This beautiful original hand coloured antique lithograph print of the Blue Petrel by John Gould and Henry Constantine Richter, after the drawing of Elizabeth Gould, was published in The Birds of Australia by John Gould between 1840 & 1848.
This, as with all Goulds prints, is of exceptional quality with exquisite hand colouring. This print is also accompanied by the original text page.

Henry Constantine Richter 1821 – 1902 was an English zoological illustrator who produced a very large number of skilful coloured lithographs of birds and mammals, mainly for the scientific books of the renowned English 19th century ornithologist John Gould.
Many of the original drawings used by Richter as the basis for his coloured lithographs were by Goulds wife, Elizabeth Coxen, produced before her death in 1841.
Richter\'s reputation was overshadowed by that of his much-celebrated employer. Since it was not customary to acknowledge illustrators alongside authors in the titles of publications, his name was forgotten. But in 1978 his great ability and the extent of his contribution to Goulds work came to light, in the work of the researcher Christine E Jackson.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink, brown, white
General color appearance: - Authentic
Paper size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Plate size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Birds of Australia was a book written by John Gould and published in seven volumes between 1840 and 1848. It was the first comprehensive survey of the birds of Australia and included descriptions of 681 species, 328 of which were new to science and were first described by Gould.
Gould and his wife Elizabeth traveled to Australia from England in 1838 to prepare the book. They spent a little under two years collecting specimens for the book. John traveled widely and made extensive collections of Australian birds and other fauna. Elizabeth, who had illustrated several of his earlier works, made hundreds of drawings from specimens for publication in The Birds of Australia
The plates of the book were produced by lithography, Elizabeth produced 84 plates before she died in 1841, Edward Lear produced one, Waterhouse Hawkins contributed one and the remaining 595 plates were produced by H. C. Richter from Elizabeths drawings and were published under his name.
250 sets of the seven-volume work were printed.
In 1865 Gould published a revised and updated version of the text of The Birds of Australia in the two-volume Handbook to the Birds of Australia.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$375.00 USD
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1800 George Kearsley Shaw Antique Early Print The Australian Musky Rat Kangaroo

1800 George Kearsley Shaw Antique Early Print The Australian Musky Rat Kangaroo

  • Title : Rat Kangaroo...1800 Jan 1 London Published by G Kearsley Fleet St.
  • Date : 1800
  • Condition: (A+) Fine Condition
  • Ref:  33077
  • Size: 8 1/2in x 5in (215mm x 125mm)

Description:
This original copper-plate engraved antique print of the Australian Musky rat-kangaroo was engraved by Isaac Taylor (1730-1807) in 1800 - dated - and published by George Kearsley Shaw in the 1803 edition of the Zoology of New Holland one of the earliest publications to name many Australian animals, for the first time.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 8 1/2in x 5in (215mm x 125mm)
Plate size: - 8 1/2in x 5in (215mm x 125mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background: 
The musky rat-kangaroo is a marsupial species found only in the rainforests of northeast Australia. Although some scientists place this species as a subfamily (Hypsiprymnodontinae) of the family Potoroidae, the most recent classification places it in the family Hypsiprymnodontidae with prehistoric rat-kangaroos.
It is the smallest macropod that is quadrupedal and only diurnal. The musky rat-kangaroo is about 21 to 34 cm long with a 6.5- to 12.3-cm-long hairless tail, weighs between 332 and 680 g, and eats fallen fruit and large seeds, as well as small invertebrates.
It moves by extending its body and then bringing both of its hind legs forward, and uses an opposable digit on the hind foot to climb trees.

Shaw, George Kearsley 1751 - 1813
Shaw was an English botanist and zoologist. He was born at Bierton, Buckinghamshire, and was educated at Magdalen Hall, Oxford, receiving his M.A. in 1772. He took up the profession of medical practitioner. In 1786 he became the assistant lecturer in botany at Oxford University. He was a co-founder of the Linnean Society in 1788, and became a fellow of the Royal Society in 1789.
In 1791 Shaw became assistant keeper of the natural history department at the British Museum, succeeding Edward Whitaker Gray as keeper in 1806. He found that most of the items donated to the museum by Hans Sloane were in very bad condition. Medical and anatomical material was sent to the museum at the Royal College of Surgeons, but many of the stuffed animals and birds had deteriorated and had to be burnt. He was succeeded after his death by his assistant Charles Konig.
Shaw published one of the first English descriptions with scientific names of several Australian animals in his Zoology of New Holland first published in 1794. He was among the first scientists to examine a platypus and published the first scientific description of it in The Naturalists Miscellany in 1799.
In the field of herpetology he described numerous new species of reptiles and amphibians.
His other publications included:
- Musei Leveriani explicatio, anglica et Latina, containing select specimens from the museum of the late Sir Ashton Lever (1792–6), which had been moved to be displayed at the Blackfriars Rotunda.
- General Zoology, or Systematic Natural History (16 vol.) (1809–1826) (volumes IX to XVI by James Francis Stephens)
- The Naturalist\\\'s Miscellany: Or, Coloured Figures Of Natural Objects; Drawn and Described Immediately From Nature (1789–1813) with Frederick Polydore Nodder (artist and engraver).
The standard botanical author abbreviation G.Shaw is applied to species he described.

$125.00 USD
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1772 John Boydell Antique Print of Moat Island Eight Views of Windsor Great Park

1772 John Boydell Antique Print of Moat Island Eight Views of Windsor Great Park

  • Title : The Moat Island Published March the 2nd 1772 by John Boydell Engraver in Cheapside London
  • Size:  23 1/2in x 13 1/2in (595mm x 340mm)
  • Condition: (B) Good Condition
  • Date : 1772
  • Ref #:  91158-1

Description:
This large original copper-plate engraved antique print of The Moat Island in Great Windsor Park by Thomas Sandby was engraved by François Vivares and published by John Boydell for the 1772 edition of Eight Views of Windsor Great Park

Thomas Sandby RA 1721 – 1798 was an English draughtsman, watercolour artist, architect and teacher. In 1743 he was appointed private secretary to the Duke of Cumberland, who later appointed him Deputy Ranger of Windsor Great Park, where he was responsible for considerable landscaping work.
Along with his younger brother Paul, he was one of the founding members of the Royal Academy in 1768, and was its first professor of architecture. His most notable architectural work was the Freemason\'s Hall in London (now demolished).

Francois Vivares 1709 – 1780 was a French landscape-engraver, active in England.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 23 1/2in x 13 1/2in (595mm x 340mm)
Plate size: - 23 1/2in x 13 1/2in (595mm x 340mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Soiling and creasing
Plate area: - Several small tears and holes repaired
Verso: - Repairs as noted

Background: 
The set of eight folio plates published in Eight Views of Windsor Great Park executed by Thomas Sandby and his brother Paul with the assistance of several noted English engravers. The 8 views were considered to be the finest set of topographical country house views after Rigauds 1739 Views of Stowe
Thomas Sandby (1721–1798) was an architect who served as draftsman to the Duke of Cumberland at the Battle of Culloden in 1746. With his younger brother Paul, a landscape painter and watercolourist, they were founding members of the Royal Academy in 1768.
Through these engravings, the Duke of Cumberland sought to commemorate his alteration of the park, which had served English royalty since the eleventh century as a hunting and jousting ground and, beginning in the eighteenth century, as a place of formal gardens and walks. (The Duke is pictured in several of the engravings, arriving by carriage, directing workers by a bridge, and discoursing with the King by the river.) The improvements to Windsor Great Park recorded in these engravings include a dam built in 1749, forming an artificial lake, rockwork, a cascade, and a grotto. In 1752, a fifty-ton ships hull was raised from the Thames and fitted up on the artificial lake as a Mandarin Yacht or Chinese Junk. A triangular Gothic belvedere was erected on Shrubs Hill to the south, and a large wooden footbridge was constructed over the water. Renovations were also undertaken at the so-called Great Lodge, which became the Dukes residence at Windsor. In short, these improvements partook of the fashionable taste for picturesque Gothick – that was most noticeably championed by Horace Walpoles contemporary Strawberry Hill villa.
Much of these improvements, which were actually the work of architect Henry Flitcroft, were destroyed by severe floods, which broke the dam at Virginia Water in 1768 and again in 1782. These views therefore provide evidence for the state of the park at that date.
Original sketches and preparatory drawings by Paul and Thomas Sandby related to these engravings survive in the Royal Collection at Windsor Castle, the Victoria and Albert Museum, and the British Museum.

Boydell, John 1720 - 1804
Boydell 1804 was an 18th-century British publisher noted for his reproductions of engravings. He helped alter the trade imbalance between Britain and France in engravings and initiated a British tradition in the art form. A former engraver himself, Boydell promoted the interests of artists as well as patrons and as a result his business prospered.
The son of a land surveyor, Boydell apprenticed himself to William Henry Toms, an artist he admired, and learned engraving. He established his own business in 1746 and published his first book of engravings around the same time. Boydell did not think much of his own artistic efforts and eventually started buying the works of others, becoming a print dealer as well as an artist. He became a successful importer of French prints during the 1750s but was frustrated by their refusal to trade prints in kind. To spark reciprocal trade, he commissioned William Wolletts spectacular engraving of Richard Wilsons The Destruction of the Children of Niobe, which revolutionised the print trade. Ten years later, largely as a result of Boydells initiative, the trade imbalance had shifted, and he was named a fellow of the Royal Society for his efforts.
In the 1790s, Boydell began a large Shakespeare venture that included the establishment of a Shakespeare Gallery, the publication of an illustrated edition of Shakespeares plays, and the release of a folio of prints depicting scenes from Shakespeares works. Some of the most illustrious painters of the day contributed, such as Benjamin West and Henry Fuseli.
Throughout his life, Boydell dedicated time to civic projects: he donated art to government institutions and ran for public office. In 1790 he became Lord Mayor of London. The French Revolutionary Wars led to a cessation in Continental trade at the end of the 1790s. Without this business, Boydells firm declined and he was almost bankrupt at his death in 1804.
In 1751, with his large volume of prints, Boydell moved to larger premises at 90 Cheapside. By 1755, he had published A Collection of One Hundred and Two Views, &C. in England and Wales. This cheap but successful book gave him capital to invest. He became increasingly immersed in the commercial side of the print business and like most print dealers began importing prints to sell. These included print reproductions of landscapes by artists such as Claude Lorrain and Salvator Rosa. The bulk of the imports came from the undisputed masters of engraving during the 18th century: the French. Boydell made a small fortune in the 1750s from these imported prints. His early success was acknowledged in 1760 when he was named a member of the Royal Society.Winifred Friedman, who has written extensively on Boydell, explains that despite this success, [w]hat rankled Boydell was that the French would not extend credit, or exchange prints; he was required to produce hard cash. Boydell took action, and this was the turning point.
In 1761, Boydell decided that he would attempt to trade with the French in kind—something they had refused in the past because of the poor quality of British engravings. To inaugurate this change, he had to have a truly spectacular print. To this end, he hired William Woollett, the foremost engraver in England, to engrave Richard Wilsons Destruction of the Children of Niobe. Woollett had already successfully engraved Claude Lorrains 1663 painting The Father of Psyche Sacrificing at the Temple of Apollo for Boydell in 1760. Boydell paid him approximately £100 for the Niobe engraving, a staggering amount compared to the usual rates. This single act of patronage raised engravers fees throughout London. The print was wildly successful, but more importantly, the French accepted it as payment in kind. In fact, it was the first British print actively desired on the Continent. By 1770, the British were exporting far more prints than they were importing, largely due to Boydell.
Boydells business flourished and he soon hired his nephew, Josiah Boydell, to assist him. Boydells biographer, Sven Bruntjen, hypothesizes that one of the reasons for Boydells early and phenomenal success was his specialisation. Unlike his competitors [who sold manuals, atlases and other assorted books] ... his [business had an] almost exclusive concentration on the sale of reproductive prints. Bruntjen argues that despite the extensive sales of varied types of reproductive prints, it was the contemporary history print which accounted for the major part of Boydells success as a print dealer. Most notable among these was the Death of General Wolfe a 1770 painting by Benjamin West, engraved by Woollett for Boydell in 1776. As early as 1767, Boydell had stopped engraving prints himself and began exclusively relying on commissions and trades and it was from these that he profited.
Boydell had opened up a new market with Niobe and he quickly followed up this success. With a prospering business and capital in reserve, he embarked on several ambitious projects, often simultaneously. In 1769, he began A Collection of Prints, Engraved after the Most Capital Paintings in England. Its last, and ninth volume, was finished in 1792 to great critical and financial success. In 1773, he began A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty the Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk, which was finished in 1788.
In addition to these projects and in the middle of his Shakespeare undertaking Boydell experimented with aquatint in An History of the River Thames, published in 1796. Bruntjen writes, although not the first colored aquatint book, [it] was the first major one, and it was to set an example for the type of illustration that was to enjoy widespread popularity in England for some forty years. Boydell also published The Original Work of William Hogarth in 1790 and The Poetical Works of John Milton and The Life of the Poet (i.e., Milton) in 1794.
The productivity and profitability of Boydells firm spurred the British print industry in general. By 1785, annual exports of British prints reached £200,000 while imports fell to £100. Boydell was acknowledged and praised throughout England as the agent of this stunning economic reversal. In 1773 he was awarded the Royal Academy Gold Medal for his services in advancing the print trade. In 1789, at the Royal Academy dinner, the Prince of Wales toasted an English tradesman who patronizes art better than the Grand Monarque, Alderman Boydell, the Commercial Maecenas

$425.00 USD
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1836 Dumont D Urville Large Antique Print Monument to La Perouse Solomon Islands

1836 Dumont D Urville Large Antique Print Monument to La Perouse Solomon Islands

Description:
This large original antique lithograph print of Dumont D Urville Inauguration of a monument to Jean François de Galaup, comte de Lapérouse on the island of Vanikoro, part of the Solomon Islands in the south Pacific (the last resting place of La Perouse & his crew), by Louis Auguste de Sainson, the artist on the Astrolabe, during the first of Dumont D Urvilles first voyage to the South Seas between 1826 - 1829, was engraved by Antoine Maurin 1793 - 1860 and published in the 1836 1st edition of Dumont d Urvilles Voyage de la corvette L Astrolabe: exécuté par ordre du roi, pendant les années 1826-1827-1828-1829......

Louis Auguste de Sainson, (1800-1848). Sainson was a French draftsman & artist who specialized in natural history and geography. He accompanied the expedition of the corvette L Astrolabe as a naturalist directed by Jules Dumont d\\\'Urville between 1826-1829.
He began his naval career in a secretarial position at the French Atlantic port of Rochefort, working there from 1825 till 1826. He then volunteered to join the Astrolabe as a draughtsman, after being recommended to the expedition by Quoy, one of the naturalists on the expedition, joining the ship at Toulon on 7 February 1826.
He was responsible for the bulk of the drawings produced during the expedition, with over 500 in three years. Many of his drawings paintings and prints now reside in Australian, New Zealand & French museums.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 19 1/2in x 13 1/2in (495mm x 345mm)
Plate size: - 19 1/2in x 13 1/2in (495mm x 345mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Re-join to bottom margin
Plate area: - 9in & 2in re-join to bottom to centre of image
Verso: - Repair as noted, light spotting

Background: 
Jean François de Galaup, comte de Lapérouse (1741 – 1788) was a French Naval officer and explorer whose expedition vanished in Oceania.
Lapérouse was appointed in 1785 by Louis XVI and by the Secretary of State of the Navy, the Marquis de Castries, to lead an expedition around the world. Many countries were initiating voyages of scientific explorations at that time.
The expeditions aims were to complete the Pacific discoveries of James Cook (whom Lapérouse greatly admired), correct and complete maps of the area, establish trade contacts, open new maritime routes and enrich French science and scientific collections. His ships were LAstrolabe (under Fleuriot de Langle) and La Boussole, both 500 tons. They were storeships reclassified as frigates for the occasion. Their objectives were geographic, scientific, ethnological, economic (looking for opportunities for whaling or fur trading), and political (the eventual establishment of French bases or colonial cooperation with their Spanish allies in the Philippines). They were to explore both the north and south Pacific, including the coasts of the Far East and of Australia, and send back reports through existing European outposts in the Pacific.
La Perouse visited Australia, arriving off Botany Bay on 24 January 1788. There Lapérouse encountered a British convoy (known later as the First Fleet) led by Captain Arthur Phillip RN, who was to establish the penal colony of New South Wales. While it had been intended that the colony would be located at Botany Bay, Phillip had quickly decided that the site was unsuitable and the colony would instead be established at Sydney Cove in Port Jackson. High winds – which had hindered Lapérouses ships in entering Botany Bay – delayed the relocation until 26 January (later commemorated as Australia Day).
The French were received courteously and spent six weeks at the British colony (their last recorded landfall). While Lapérouse and Phillip did not meet, French and British officers visited each other formally on at least 11 occasions, and offered each other assistance and supplies. During their stay, the French established an observatory and a garden, held masses, and made geological observations. Lapérouse also took the opportunity to send journals, charts and letters back to Europe, with the British merchant ship Alexander. The chaplain from L Astrolabe, Father Louis Receveur, never recovered from injuries he had sustained in a clash with indigenous people in the Samoan Islands and died at Botany Bay on 17 February; Receveur was buried on shore at Frenchmans Cove.
On 10 March, after taking on sufficient wood and fresh water, the French expedition left New South Wales – bound for New Caledonia, Santa Cruz, the Solomons, the Louisiades, and the western and southern coasts of Australia. While Lapérouse had reported in a letter from Port Jackson that he expected to be back in France by June 1789, neither he nor any members of his expedition were seen again by Europeans.

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1840-48 John Gould Antique Print Birds of Australia....Bridled Tern...Sea Bird

1840-48 John Gould Antique Print Birds of Australia....Bridled Tern...Sea Bird

  • Title : Onychoprion Panaya....J Gould. H C Richter....Hullmandel & Walton Imp...
  • Size: 21 1/2in x 14 1/2in (490mm x 370mm)
  • Condition: (A+) Fine Condition
  • Date : 1840-48
  • Ref #:  93102

Description:
This beautiful original hand coloured antique lithograph print, of the Panayan Tern, or Bridled Tern, by John Gould and Henry Constantine Richter, after the drawing of Elizabeth Gould, was published in The Birds of Australia by John Gould between 1840 & 1848.
This, as with all Goulds prints, is of exceptional quality with exquisite hand colouring. This print is also accompanied by the original text page.

Henry Constantine Richter 1821 – 1902 was an English zoological illustrator who produced a very large number of skilful coloured lithographs of birds and mammals, mainly for the scientific books of the renowned English 19th century ornithologist John Gould.
Many of the original drawings used by Richter as the basis for his coloured lithographs were by Goulds wife, Elizabeth Coxen, produced before her death in 1841.
Richter\'s reputation was overshadowed by that of his much-celebrated employer. Since it was not customary to acknowledge illustrators alongside authors in the titles of publications, his name was forgotten. But in 1978 his great ability and the extent of his contribution to Goulds work came to light, in the work of the researcher Christine E Jackson.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink, brown, white
General color appearance: - Authentic
Paper size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Plate size: - 21 1/2in x 14 1/2in (490mm x 370mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Birds of Australia was a book written by John Gould and published in seven volumes between 1840 and 1848. It was the first comprehensive survey of the birds of Australia and included descriptions of 681 species, 328 of which were new to science and were first described by Gould.
Gould and his wife Elizabeth traveled to Australia from England in 1838 to prepare the book. They spent a little under two years collecting specimens for the book. John traveled widely and made extensive collections of Australian birds and other fauna. Elizabeth, who had illustrated several of his earlier works, made hundreds of drawings from specimens for publication in The Birds of Australia
The plates of the book were produced by lithography, Elizabeth produced 84 plates before she died in 1841, Edward Lear produced one, Waterhouse Hawkins contributed one and the remaining 595 plates were produced by H. C. Richter from Elizabeths drawings and were published under his name.
250 sets of the seven-volume work were printed.
In 1865 Gould published a revised and updated version of the text of The Birds of Australia in the two-volume Handbook to the Birds of Australia.

Gould, John FRS 1804 – 1881
Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed Darwins finches played a role in the inception of Darwins theory of evolution by natural selection. Goulds work is referenced in Charles Darwins book, On the Origin of Species.
Gould was born in Lyme Regis the first son of a gardener. He and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 Gould became foreman in the Royal Gardens of Windsor. He was for some time under the care of J. T. Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Goulds position brought him into contact with the countrys leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). The text was by Nicholas Aylward Vigors and the illustrations were drawn and lithographed by Goulds wife Elizabeth Coxen Gould. Most of Goulds work were rough sketches on paper from which other artists created the lithographic plates.
This work was followed by four more in the next seven years, including Birds of Europe in five volumes. It was completed in 1837; Gould wrote the text, and his clerk, Edwin Prince, did the editing. The plates were drawn and lithographed by Elizabeth Coxen Gould. A few of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear, however, was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay, realising a fortune. This was a busy period for Gould who also published Icones Avium in two parts containing 18 leaves of bird studies on 54 cm plates as a supplement to his previous works. No further monographs were published as in 1838 he and his wife moved to Australia to work on the Birds of Australia. Shortly after their return to England, his wife died in 1841. Elizabeth Gould completed 84 plates for Birds of Australia before her death.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Zoological Society of London on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands which Darwin had thought were blackbirds, gross-bills and finches were in fact a series of ground Finches which are so peculiar as to form an entirely new group, containing 12 species. This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos wren was another species of finch and the mockingbirds he had labelled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently, Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner was a separate species which he named Rhea darwinii, whose territory overlapped with the northern rheas. Darwin had not bothered to label his finches by island, but others on the expedition had taken more care. He now sought specimens collected by captain Robert FitzRoy and crewmen. From them he was able to establish that the species were unique to islands, an important step on the inception of his theory of evolution by natural selection. Goulds work on the birds was published between 1838 and 1842 in five numbers as Part 3 of Zoology of the Voyage of H.M.S. Beagle, edited by Charles Darwin. Elizabeth Gould illustrated all the plates for Part 3.
In 1838 the Goulds sailed to Australia, intending to study the birds of that country and be the first to produce a major work on the subject. They took with them the collector John Gilbert. They arrived in Tasmania in September, making the acquaintance of the governor Sir John Franklin and his wife. Gould and Gilbert collected on the island. In February 1839 Gould sailed to Sydney, leaving his pregnant wife with the Franklins. He travelled to his brother-in-laws station at Yarrundi, spending his time searching for bowerbirds in the Liverpool Range. In April he returned to Tasmania for the birth of his son. In May he sailed to Adelaide to meet Charles Sturt, who was preparing to lead an expedition to the Murray River. Gould collected in the Mount Lofty range, the Murray Scrubs and Kangaroo Island, returning again to Hobart in July. He then travelled with his wife to Yarrundi. They returned home to England in May 1840.
The result of the trip was The Birds of Australia (1840–48). It included a total of 600 plates in seven volumes; 328 of the species described were new to science and named by Gould. He also published A Monograph of the Macropodidae, or Family of Kangaroos (1841–1842) and the three volume work The Mammals of Australia (1849–1861).
Elizabeth died in 1841 after the birth of their eighth child, Sarah, and Goulds books subsequently used illustrations by a number of artists, including Henry Constantine Richter, William Matthew Hart and Joseph Wolf.
Throughout his professional life Gould had a strong interest in hummingbirds. He accumulated a collection of 320 species, which he exhibited at the Great Exhibition of 1851. Despite his interest, Gould had never seen a live hummingbird. In May 1857 he travelled to the United States with his second son, Charles. He arrived in New York too early in the season to see hummingbirds in that city, but on 21 May 1857, in Bartrams Gardens in Philadelphia, he finally saw his first live one, a ruby-throated hummingbird. He then continued to Washington D.C. where he saw large numbers in the gardens of the Capitol. Gould attempted to return to England with live specimens, but, as he was not aware of the conditions necessary to keep them, they only lived for two months at most.
Gould published: A Monograph of the Trochilidae or Humming Birds with 360 plates (1849–61); The Mammals of Australia (1845–63), Handbook to the Birds of Australia (1865), The Birds of Asia (1850–83), The Birds of Great Britain (1862–73) and The Birds of New Guinea and the adjacent Papuan Islands (1875–88).
The University of Glasgow, which owns a copy of Birds of Great Britain, describes John Gould as the greatest figure in bird illustration after Audubon, and auctioneers Sotherans describe the work as Goulds pride and joy.
Gould had already published some of the illustrations in Birds of Europe, but Birds of Great Britain represents a development of his aesthetic style in which he adds illustrations of nests and young on a large scale.
Sotherans Co. reports that Gould published the book himself, producing 750 copies, which remain sought after both as complete volumes, and as individual plates, currently varying in price from £450 – £850. The University of Glasgow records that the volumes were issued in London in 25 parts, to make the complete set, between 1863 and 1873, and each set contained 367 coloured lithographs.
Gould undertook an ornithological tour of Scandinavia in 1856, in preparation for the work, taking with him the artist Henry Wolf who drew 57 of the plates from Goulds preparatory sketches. According to The University of Glasgow Goulds skill was in rapidly producing rough sketches from nature (a majority of the sketches were drawn from newly killed specimens) capturing the distinctiveness of each species. Gould then oversaw the process whereby his artists worked his sketches up into the finished drawings, which were made into coloured lithographs by engraver William Hart.
There were problems: the stone engraving of the snowy owl in volume I was dropped and broken at an early stage in the printing. Later issues of this plate show evidence of this damage and consequently the early issue – printed before the accident – are considered more desirable.
The lithographs were hand coloured. In the introduction for the work, Gould states every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
The work has gathered critical acclaim: according to Mullens and Swann, Birds of Great Britain is the most sumptuous and costly of British bird books, whilst Wood describes it as a magnificent work. Isabella Tree writes that it was seen – perhaps partly because its subject was British, as the culmination of [his] ... genius

$325.00 USD
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1784 Cook Antique 1st edition Print HMS Resolution & Discovery Xmas Bay, Kerguelen Isle 1776

1784 Cook Antique 1st edition Print HMS Resolution & Discovery Xmas Bay, Kerguelen Isle 1776

Description:
This fine original copper-plate engraved antique print of HMS Resolution & Discovery anchored in Christmas Bay, on Kerguelen Islands on Christmas day in 1776, was engraved by James Newton (1748-1804) after a painting by Cooks onboard artist John Webber, during Cooks 3rd & last voyage of Discovery was published in the 1784 1st English edition of Capt. James Cook & Capt. James King A Voyage to the Pacific Ocean. Undertaken, by the Command of his Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northen Passage to Europe. Performed under the direction of Captains Cook, Clerke, and Gore, In His Majestys Ships the Resolution and Discovery. In the Years 1776, 1777, 1778, 1779, and 1780. London 1784.

Cook wrote..........I found the shore in a manner covered with Penguins and other birds and Seals…so fearless that we killed as ma(n)y as we chose for the sake of their fat or blubber to make Oil for our lamps and other uses… Here I displayd the British flag and named the harbour Christmas harbour as we entered it on that Festival..... (Journals III, i, 29-32)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 20in x 14 1/2in (510mm x 370mm)
Plate size: - 16in x 10 1/2in (410mm x 270mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - Single heavy vertical crease along top of image, pressed out
Verso: - None

Background: 
The Kerguelen Islands, sometimes called the Desolation Islands, are located in the southern Indian Ocean and were discovered by the French navigator Yves de Kerguelen-Trémarec in 1772. On Christmas Day, 1776 Cook’s ships Resolution and Discovery anchored in Oiseau Bay, which he named Christmas Harbour. Cook\'s men discovered a bottle containing a message in Latin left by Kerguelen\'s men. Cook wrote in his log: “I could have very properly called the island Desolation Island to signalise its sterility, but in order not to deprive M. de Kerguelen of the glory of having discovered it, I have called it Kerguelen Land.”
The Kerguelen Islands or the Kerguelen Archipelago are located in the southern Indian Ocean. The main island, Grande Terre, is 6,675 km² and it is surrounded by another 300 smaller islands and islets, forming an archipelago of 7,215 km². The climate is cold and very windy and the seas are usually rough. The islands are part of a submarine large igneous province called the Kerguelen Plateau.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cook\\\'s third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses\\\", which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

$750.00 USD
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1760 Vue D Optique Antique Print View of London, Old London Bridge to St Pauls

1760 Vue D Optique Antique Print View of London, Old London Bridge to St Pauls

Description:
This original hand coloured copper-plate engraved antique print, a general view of London from the Thames across old London Bridge to St Pauls, was published bewteen 1750 & 1798 in s series of Perspective views, or Vues d optique

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 16 1/2in x 11 3/4in (425mm x 295mm)
Plate size: - 16 1/2in x 11 3/4in (425mm x 295mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Blue colour spot top left
Verso: - None

Background: 
A series of perspective views, or vues d optique, a special type of popular print published in Europe during the eighteenth century. These prints were a form of entertainment meant to be seen through devices called optical machines, optiques, zograscopes or peepshows. These views are some of the most distinctive and interesting images of the eighteenth century, and their striking use of lines of perspective and bright original color makes them as visually delightful as they are historically fascinating.

Vue d Optique
The term a vue d optique or aperspective view is used for describing a very special genre of antique print. Originating in England it became widely produced in Europe during the second half of the 18th century. Augsburg, Paris, Bassano and several other places became centers for the production of these interesting, fascinating engravings.
Aperspective views are usually views of cities around the world (but also of other subject matters, historical, Biblical etc.). These were shown in apeep boxes which in turn were usually set up by travelling owners of such viewing devices on markets throughout Europe. People could, for a certain amount of money, look into a peep box and view these perspective views through a magnifying lense which, at the same time, gave the viewer the impression of three dimensional perception. Well-to-do people bought such viewing machines for their families and began collecting the vue doptique engravings showing them at home like slide show would be shown.
Perspective view prints were usually coloured quite boldly before they were sold. Black and white samples are the exception and rather rare. They also have more or less the same format (size), because they had to fit the peep boxes. The title of a view was not always, but quite frequently printed in several languages and often repeated above the view in inverted writing (which was corrected by the lens for the viewer).
The value of perspective view prints rapidly increased, when modern day collectors discovered the genre and began to be interested in collecting the prints. Some large collections of prints and viewing devices have been sold in some of the big auction houses with great success.
Since perspective view prints were actually used almost daily by moving them in and out of viewing boxes, they often show some wear and tear, unless they were handled with much care by private possessors. Prints are in good condition unles otherwise mentioned. A few minor spots and signs of wear are typical of antique prints.

$475.00 USD
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1719 Chatelain Large Antique Map of Barbary Coast, North Africa Morocco to Libya

1719 Chatelain Large Antique Map of Barbary Coast, North Africa Morocco to Libya

  • Title : Description Du Nil. Des Sources de son Cours Depuis Les Catactes....
  • Size: 20in x 17 1/2in (510mm x 440mm)
  • Condition: (A+) Fine Condition
  • Date : 1719
  • Ref #:  50651

Description:
This large original copper-plate engraved antique print of views of the Pyramids, ruins and the Nile River, speculating on the source (not known until the mid 19th century) was published by Henri Abraham Chatelain in 1719, in his famous Atlas Historique.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 20in x 17 1/2in (510mm x 440mm)
Plate size: - 17 1/2in x 15in (440mm x 380mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The river Nile has two major tributaries, the White Nile and Blue Nile. The White Nile is considered to be the headwaters and primary stream of the Nile itself. The Blue Nile, however, is the source of most of the water and silt. The White Nile is longer and rises in the Great Lakes region of central Africa, with the most distant source still undetermined but located in either Rwanda or Burundi. It flows north through Tanzania, Lake Victoria, Uganda and South Sudan. The Blue Nile begins at Lake Tana in Ethiopia and flows into Sudan from the southeast. The two rivers meet just north of the Sudanese capital of Khartoum.
Europeans began to learn about the origins of the Nile in the 14th century when the Pope sent monks as emissaries to Mongolia who passed India, the middle east and Africa, and described being told of the source of the Nile in Abyssinia (ancient European name for Ethiopia) Later in the 15th and 16th centuries, travelers to Ethiopia visited Lake Tana and the source of the Blue Nile in the mountains south of the lake. Although James Bruce claimed to be the first European to have visited the headwaters, modern writers give the credit to the Jesuit Pedro Páez. Páezs account of the source of the Nile is a long and vivid account of Ethiopia. It was published in full only in the early 20th century, although it was featured in works of Páezs contemporaries, including Baltazar Téllez, Athanasius Kircher and by Johann Michael Vansleb.
Europeans had been resident in Ethiopia since the late 15th century, and one of them may have visited the headwaters even earlier without leaving a written trace. The Portuguese João Bermudes published the first description of the Tis Issat Falls in his 1565 memoirs, compared them to the Nile Falls alluded to in Ciceros De Republica. Jerónimo Lobo describes the source of the Blue Nile, visiting shortly after Pedro Páez. Telles also used his account.
The White Nile was even less understood. The ancients mistakenly believed that the Niger River represented the upper reaches of the White Nile. For example, Pliny the Elder wrote that the Nile had its origins in a mountain of lower Mauretania, flowed above ground for many days distance, then went underground, reappeared as a large lake in the territories of the Masaesyli, then sank again below the desert to flow underground for a distance of 20 days journey till it reaches the nearest Ethiopians. A merchant named Diogenes reported that the Niles water attracted game such as buffalo.
Lake Victoria was first sighted by Europeans in 1858 when the British explorer John Hanning Speke reached its southern shore while traveling with Richard Francis Burton to explore central Africa and locate the great lakes. Believing he had found the source of the Nile on seeing this vast expanse of open water for the first time, Speke named the lake after the then Queen of the United Kingdom. Burton, recovering from illness and resting further south on the shores of Lake Tanganyika, was outraged that Speke claimed to have proved his discovery to be the true source of the Nile when Burton regarded this as still unsettled. A very public quarrel ensued, which sparked a great deal of intense debate within the scientific community and interest by other explorers keen to either confirm or refute Spekes discovery. British explorer and missionary David Livingstone pushed too far west and entered the Congo River system instead. It was ultimately Welsh-American explorer Henry Morton Stanley who confirmed Spekes discovery, circumnavigating Lake Victoria and reporting the great outflow at Ripon Falls on the Lakes northern shore.
European involvement in Egypt goes back to the time of Napoleon. Laird Shipyard of Liverpool sent an iron steamer to the Nile in the 1830s. With the completion of the Suez Canal and the British takeover of Egypt in the 1870s, more British river steamers followed.
The Nile is the areas natural navigation channel, giving access to Khartoum and Sudan by steamer. The Siege of Khartoum was broken with purpose-built sternwheelers shipped from England and steamed up the river to retake the city. After this came regular steam navigation of the river. With British Forces in Egypt in the First World War and the inter-war years, river steamers provided both security and sightseeing to the Pyramids and Thebes. Steam navigation remained integral to the two countries as late as 1962. Sudan steamer traffic was a lifeline as few railways or roads were built in that country. Most paddle steamers have been retired to shorefront service, but modern diesel tourist boats remain on the river.

$275.00 USD
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1719 Chatelain Large Antique Print of Egypt Pyramids, & Source of the Nile River

1719 Chatelain Large Antique Print of Egypt Pyramids, & Source of the Nile River

  • Title : Description Du Nil. Des Sources de son Cours Depuis Les Catactes....
  • Size: 20in x 17 1/2in (510mm x 440mm)
  • Condition: (A+) Fine Condition
  • Date : 1719
  • Ref #:  50651

Description:
This large original copper-plate engraved antique print of views of the Pyramids, ruins and the Nile River, speculating on the source (not known until the mid 19th century) was published by Henri Abraham Chatelain in 1719, in his famous Atlas Historique.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 20in x 17 1/2in (510mm x 440mm)
Plate size: - 17 1/2in x 15in (440mm x 380mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The river Nile has two major tributaries, the White Nile and Blue Nile. The White Nile is considered to be the headwaters and primary stream of the Nile itself. The Blue Nile, however, is the source of most of the water and silt. The White Nile is longer and rises in the Great Lakes region of central Africa, with the most distant source still undetermined but located in either Rwanda or Burundi. It flows north through Tanzania, Lake Victoria, Uganda and South Sudan. The Blue Nile begins at Lake Tana in Ethiopia and flows into Sudan from the southeast. The two rivers meet just north of the Sudanese capital of Khartoum.
Europeans began to learn about the origins of the Nile in the 14th century when the Pope sent monks as emissaries to Mongolia who passed India, the middle east and Africa, and described being told of the source of the Nile in Abyssinia (ancient European name for Ethiopia) Later in the 15th and 16th centuries, travelers to Ethiopia visited Lake Tana and the source of the Blue Nile in the mountains south of the lake. Although James Bruce claimed to be the first European to have visited the headwaters, modern writers give the credit to the Jesuit Pedro Páez. Páezs account of the source of the Nile is a long and vivid account of Ethiopia. It was published in full only in the early 20th century, although it was featured in works of Páezs contemporaries, including Baltazar Téllez, Athanasius Kircher and by Johann Michael Vansleb.
Europeans had been resident in Ethiopia since the late 15th century, and one of them may have visited the headwaters even earlier without leaving a written trace. The Portuguese João Bermudes published the first description of the Tis Issat Falls in his 1565 memoirs, compared them to the Nile Falls alluded to in Ciceros De Republica. Jerónimo Lobo describes the source of the Blue Nile, visiting shortly after Pedro Páez. Telles also used his account.
The White Nile was even less understood. The ancients mistakenly believed that the Niger River represented the upper reaches of the White Nile. For example, Pliny the Elder wrote that the Nile had its origins in a mountain of lower Mauretania, flowed above ground for many days distance, then went underground, reappeared as a large lake in the territories of the Masaesyli, then sank again below the desert to flow underground for a distance of 20 days journey till it reaches the nearest Ethiopians. A merchant named Diogenes reported that the Niles water attracted game such as buffalo.
Lake Victoria was first sighted by Europeans in 1858 when the British explorer John Hanning Speke reached its southern shore while traveling with Richard Francis Burton to explore central Africa and locate the great lakes. Believing he had found the source of the Nile on seeing this vast expanse of open water for the first time, Speke named the lake after the then Queen of the United Kingdom. Burton, recovering from illness and resting further south on the shores of Lake Tanganyika, was outraged that Speke claimed to have proved his discovery to be the true source of the Nile when Burton regarded this as still unsettled. A very public quarrel ensued, which sparked a great deal of intense debate within the scientific community and interest by other explorers keen to either confirm or refute Spekes discovery. British explorer and missionary David Livingstone pushed too far west and entered the Congo River system instead. It was ultimately Welsh-American explorer Henry Morton Stanley who confirmed Spekes discovery, circumnavigating Lake Victoria and reporting the great outflow at Ripon Falls on the Lakes northern shore.
European involvement in Egypt goes back to the time of Napoleon. Laird Shipyard of Liverpool sent an iron steamer to the Nile in the 1830s. With the completion of the Suez Canal and the British takeover of Egypt in the 1870s, more British river steamers followed.
The Nile is the areas natural navigation channel, giving access to Khartoum and Sudan by steamer. The Siege of Khartoum was broken with purpose-built sternwheelers shipped from England and steamed up the river to retake the city. After this came regular steam navigation of the river. With British Forces in Egypt in the First World War and the inter-war years, river steamers provided both security and sightseeing to the Pyramids and Thebes. Steam navigation remained integral to the two countries as late as 1962. Sudan steamer traffic was a lifeline as few railways or roads were built in that country. Most paddle steamers have been retired to shorefront service, but modern diesel tourist boats remain on the river.

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1719 Chatelain Large Antique Print Views of Loango & Mbanza Loango, Congo Africa

1719 Chatelain Large Antique Print Views of Loango & Mbanza Loango, Congo Africa

  • Title : Vue & Description de la Ville De Lovango dans la Royaume de Congo avec plu Sieurs....
  • Size: 20in x 17 1/2in (510mm x 440mm)
  • Condition: (A+) Fine Condition
  • Date : 1719
  • Ref #:  50641-1

Description:
This large original copper-plate engraved antique print city of Mbanza Loango in the pre-colonial African Kingdom of Loango - now part of the of western part of the Republic of the Congo - with 10 vignettes of various peoples & views of Kingdom of Loango, Africa was published by Henri Abraham Chatelain in 1719, in his famous Atlas Historique.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 20in x 17 1/2in (510mm x 440mm)
Plate size: - 17 1/2in x 15in (440mm x 380mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
The Kingdom of Loango was a pre-colonial African state, during approximately the 16th to 19th centuries in what is now the western part of the Republic of the Congo. Situated to the north of the more powerful Kingdom of Kongo, at its height in the 17th century Loango influence extended from Cape St Catherine in the north to almost the mouth of the Congo River.
Loango exported copper to the European market, and was a major producer and exporter of cloth.
The English traveller Andrew Battel, when he was there in about 1610, recorded that the predecessor of the unnamed king ruling at that time was named \\\"Gembe\\\" or Gymbe (modernized as Njimbe), possibly the founder of the kingdom. With the death of King Buatu in 1787, the succession of leadership is uncertain.
The kingdom is certain to have come to an end with the Conference of Berlin (1884–1885) at the latest, when European colonial powers divided most of Central Africa between them.
The origins of the kingdom are obscure. The most ancient complex society in the region was at Madingo Kayes, which was already a multi-site settlement in the first century CE. At present archaeological evidence is too scarce to say much more about developments until the late fifteenth or early sixteenth centuries.
Loango is not mentioned in early travelers\\\' accounts of the region, nor is it mentioned in the titles of King Afonso I of Kongo in 1535, though Kakongo, Vungu, and Ngoyo, its southern neighbors. It is therefore unlikely that there was a major power on the coast of Central Africa north of the Congo River.
The earliest reference to Loango in a documentary source is a mention around 1561 by Sebastião de Souto, a priest in Kongo, that King Diogo I (1545–61) sent missionaries to convert Loango to Christianity. Duarte Lopes, ambassador from Kongo to the Holy See in Rome in 1585, related that \\\"Loango is a friend of the King of Congo and it is said that he was a vassal in past times\\\" which is consistent with Loango\\\'s origins from Kakongo, a vassal of Kongo.
Dutch visitors recorded the first traditional account of the kingdom\\\'s origin in the 1630s or \\\'40s. In their account as reported by the geographer Olfert Dapper, the region where Loango would be constructed was populated by a number of small polities including Mayumba, Kilongo, Piri and Wansi, \\\"each with their own leader\\\" who \\\"made war on each other.\\\" He recorded that the founder of Loango, who boasted hailing from the district in Nzari in the small coastal kingdom of Kakongo, itself a vassal of Kongo, triumphed over all his rivals through the skillful use of alliances to defeat those who opposed him, particularly Wansa, Kilongo and Piri, the latter two of which required two wars to subdue. Once this had been effected, however, a range of more northern regions, including Docke and Sette submitted voluntarily. Having succeeded in the conquest, the new king moved northward and after having founded settlements in a variety of places, eventually built his capital in Buali in the province of Piri (from which the ethnic name \\\"Muvili\\\" eventually derived).
The English traveller Andrew Battel wrote when he was there in about 1610, that the predecessor of the unnamed king ruling at that time was named \\\"Gembe\\\" or \\\"Gymbe\\\" (modernized as \\\"Njimbe\\\"). A Dutch description published in 1625 said that a ruler who had died sometime before that date had ruled for 60 years and thus had taken the throne around 1565. The documentary chronology thus makes it very likely that Njimbe was the founder and first ruler mentioned in the traditions, and this supposition is supported by traditions recorded around 1890 by R. E. Dennett which also named Njimbe as the first ruler.
On the basis of later traditions from the nineteenth and twentieth centuries that linked the founding of Loango to that of Kongo, Phyllis Martin posited a much earlier foundation, the late fourteenth or early fifteenth centuries. She then argues that the absence of Loango from early titles of the king of Kongo is evidence that Loango was already independent at that time.
Njimbe had created a rule of succession which was in place around 1600, in which the king gave command over four provinces to members of his family, called the provinces of Kaye, Boke, Selage, and Kabango, and the king was to be chosen from a rotation between them. When the king died the ruler of Kaye took over, as he did indeed in the pre-1624 succession, and if the rule was followed then the ruler of Boke took his place; the other two provincial rulers advanced as well, and the king appointed a new ruler for Kabango.
In 1663, the king ruling then was baptized as Afonso by the Italian Capuchin priest Bernardo Ungaro, but there was considerable opposition to this from within the country, and indeed when he died, a non-Christian took over, but this one was himself overthrown by one of the Christian party in 1665. This civil war was still ongoing in the 1670s. In the aftermath of this civil war, a number of the Christian party fled to neighboring territories, one of whom, known to history as Miguel da Silva, was elected ruler of Ngoyo and was ruling there in 1682.
When Nathaniel Uring, an English merchant came to Loango to trade in 1701, he reported that the king had died and the power of the administration was in the hands of the \\\"Queen or Chief Governess of that Country,\\\" named \\\"Mucundy\\\" and with whom he had to deal as if with the ruler.[20] This title referred to a woman with a regular role in the administration as overseer of women\\\'s affairs.
Many years elapsed before we have another snapshot of Loango\\\'s government; during this time the rules of succession, whether formal or informal seem to have changed. When the French missionaries directed by Abbé Liévin-Bonaventure Proyart came to Loango in 1766, they noted that there was no clear succession to the throne, that anyone born of a person regarded as a princess (only female succession mattered) could aspire to the throne. Moreover, the death of a king was cause for a frequently long interregnum; the king ruling in 1766 had come to power only after an interregnum of seven years, during which time the affairs of the country were managed by a regent called Mani Boman. The Mani Boman was appointed by the king during his lifetime. Usually two were appointed to cover the eventuality of the death of one of the two. They, in turn received the petitions of a number of eligible candidates for the throne.
Eventually, the electors of the kingdom, who were those who held offices appointed by the late king, met to decide on the next king. In theory, as the old constitution maintained, the king named his successor as well and placed him as ruler of Kaye, to succeed him at his death, but as there was so much contention as to who should hold the position, the late king died without naming a Ma-Kaye.
Historian Phyllis Martin contends that the external trade of the country had enriched some members of the nobility ahead of others and had thus put pressure on the older constitution as wealthier upstart princes pressed their case forward. She argues that important members of the council were people who had obtained their positions through contact with external trade, particularly the slave trade, and they had come to share power with the king. She posits that this alteration in relative power allowed the council to dominate the king by forcing longer and longer interregna. In fact, after the death of King Buatu in 1787, no king was elected for over 100 years.However, to some extent royal authority remained in the hands of a person entitled the Nganga Mvumbi (priest of the corpse) who oversaw the body of the dead king awaiting burial. Several of these Nganga Mvumbi succeeded each other in the late eighteenth and through the nineteenth centuries.

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1719 Chatelain Large Antique Print Succession of Egyptian Pharaohs from 1500BC

1719 Chatelain Large Antique Print Succession of Egyptian Pharaohs from 1500BC

  • Title : Succession Des Rois D Egipte Selon Leurs Diverses Races (Succession Of The Kings Of Egipte According To Their Various Races)
  • Size: 20in x 17 1/2in (510mm x 440mm)
  • Condition: (A+) Fine Condition
  • Date : 1719
  • Ref #:  50652-1

Description:
This large original copper-plate engraved antique print showing the known succession of Egyptian Kings going back to 1500BC was published by Henri Abraham Chatelain in 1719, in his famous Atlas Historique.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 20in x 17 1/2in (510mm x 440mm)
Plate size: - 17 1/2in x 15in (440mm x 380mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The pharaohs were rulers of Ancient Egypt dating from the unification of Upper and Lower Egypt during the Early Dynastic Period by Narmer approximately 3100 BC. Although the specific term Pharaoh was not used by their contemporaries until the rule of Merneptah of the 19th dynasty, c. 1200 BC, the style of titulature of the rulers of Egypt remained relatively constant, initially featuring a Horus name, a Sedge and Bee (nswt-bjtj) name and a Two Ladies (nbtj) name, with the additional Golden Horus, nomen and prenomen titles being added successively during later dynasties.
Egypt remained continually governed by native pharaohs for approximately 2500 years until it was conquered by the Kingdom of Kush in 656 BC, whose rulers adopted the traditional pharaonic titulature for themselves. Following the Kushite conquest, Egypt would first see another period of independent native rule before being conquered by the Achaemenid Empire, whose rulers also adopted the title of Pharaoh. The last native Pharaoh of Egypt was Nectanebo II, who was Pharaoh before the Achaemenids conquered Egypt for a second time.
Achaemenid rule over Egypt came to an end through the conquests of Alexander the Great in 332 BC, after which it was ruled by the Hellenic Pharaohs of the Ptolemaic Dynasty. Their rule, and the independence of Egypt, came to an end when Egypt became a province of Rome in 30 BC. Augustus and subsequent Roman Emperors were styled as Pharaohs when in Egypt up until the reign of Maximinus Daia in 314 AD.

$125.00 USD
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1780 Vue d' Optic Antique Print of Westminster, River Thames, Tower of London

1780 Vue d' Optic Antique Print of Westminster, River Thames, Tower of London

  • Title : Vue Du Pont De Westminster Du Cote Du Nord
  • Date : 1780
  • Condition: (A+) Fine Condition
  • Ref:  92718
  • Size: 21in x 14 1/2in (535mm x 370mm) 

Description: 

This large beautifully engraved hand coloured original antique print, a view of Westminster in London -including London Bridge, Tower Hill, Westminster Abbey and the old Parliament buildings - was engraved by Balthazar Frederic Leizelt and was published in 1780 in the unusual publication Vues d’Optique.

Vues d' Optique or Perspective Views: Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." The most characteristic feature of the perspective views is their emphasized linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. When displayed in the optique, the prints might transport the viewer into a far away place---an unknown city, or perhaps into the midst of a dramatic bit of contemporary history. Another attribute of these prints is their bright, often heavy hand coloring, applied boldly so as to show the tints when viewed through the lens.

A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Original
Colors used: - Blue, yellow, green, red
General color appearance: - Authentic & bright
Paper size: - 21in x 14 1/2in (535mm x 370mm)
Plate size: - 15 1/2in x 10in (395mm x 255mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - Light soiling

$275.00 USD
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1724 Johannes Kip Large Antique Folio Print of St Marys Church, The Strand, London

1724 Johannes Kip Large Antique Folio Print of St Marys Church, The Strand, London

  • TitleThe South West Prospect of St Mary's Church in ye Strand
  • Date : 1724
  • Condition: (A+) Fine Condition
  • Ref:  40400
  • Size: 26 1/2in x 22in (670mm x 560mm)

Description: 
This finely engraved original large folio antique Cathedral print by Johnnes Kip (1653-1722) and engraved by James Collins was published in the 1724 by Joseph Smith monumental work Nouveau Theatre de la Grande Bretagne. This print also appeared in Britannia Illustrata by D. Mortier (brother of Pierre).
This is a finely engraved print being testimony to the beautiful and detailed work produced by Kip whose eye for detail was one of the most acknowledged of his day.

Background:
The parish of St Mary le Strand may lay a good claim to being one of the oldest parishes in London. It stands dominating a roadway which since prehistory has been the main artery to the west from the City of London. In early Saxon times the Strand area was the very heart of London, for it seems that the City was effectively abandoned by the newly-arrived settlers. The Saxons predominantly inhabited "Lundenwic", an area stretching from Fleet Street to Whitehall and from the Thames to Covent Garden from the sixth to the ninth centuries. Christianity came to this settlement with St Mellitus and his followers in 604, and, despite their brief expulsion in the 620s, became firmly established. We do not know if any of the existing churches in the area date back that far but some, such as St Clement Danes, are known to have existed in later Saxon times. 

There is no record of when St Mary le Strand was founded, but the first church, which was dedicated to the Nativity of the Blessed Virgin Mary, stood just south of the present church on a site now covered by Somerset House. Throughout the Middle Ages, the Bishops of Worcester were the Patrons of the parish and had their London residence on an adjoining site. For throughout the period from the Norman Conquest to the Reformation, the Strand was mainly the home of bishops and princes. Within the parish were the "inns" - large town houses with chapels, stables and accommodation for a large retinue - of the Bishops of Worcester, Llandaff, Coventry and Lichfield. A large part of the parish was absorbed by the building of a great house, the Palace of the Savoy, by Count Peter of Savoy, the uncle of Henry III, in the 1240s. A century later this became the home of John of Gaunt, Earl of Lancaster, and the palace became a centre of culture; among its residents was Geoffrey Chaucer, who was married in the palace chapel. Gaunt's unpopularity, as the king's chief minister, caused the palace to be burned in the Peasant's Revolt. Despite its long absence, the fame of the palace has lasted in the area and was recreated in the nineteenth century by the Savoy Hotel and Theatre. 
The site where the present church stands was occupied in medieval times by Strand Cross. The origins of this are unclear. It was not a cross erected in memory of Queen Eleanor - as was Charing Cross - but seems to have dated back at least to Norman times. Perhaps it began as a market cross; by the early fourteenth century it had been rebuilt in a lavish manner, almost certainly following the design of the Eleanor Crosses. Strand Cross was a famous site and it is recorded that in the thirteenth century the local magistrates held their assizes in front of it.
Until the sixteenth century, the Strand was no more than a line of Bishops' palaces on the south side of the roadway stretching all the way to Whitehall. On the north side stood a wall which bounded the Convent - later Covent - Garden, while the churches further away, St Martin's and St Giles, stood "in-the-fields". All this was to change with the Reformation. The bishops' inns around the church were seized by Edward Lord Protector who set about building himself a renaissance palace in what was then the most fashionable part of town. Even with the extensive site that he had now obtained, further space was needed and towards the end of 1548 the Lord Protector's workmen fell upon St Mary's church and demolished it to provide stone for the new palace. Further stone was provided by the demolition of a cloister at St Paul's Cathedral known as Pardon Churchyard and the greater part of the Priory of St John at Clerkenwell. Even by the standards of the time, the demolition of so much sacred property was an outrage. Somerset was never to enjoy living in his new palace; just as it was nearing completion he was overthrown by his political enemies and executed at Tower Hill in 1551.
It is said that Somerset had intended to build a new parish church. If so, all thought of it passed away with his fall. Initially, the parishioners scattered but within a short time we find them gathered in the chapel of St John the Baptist in the Savoy. Here they would remain for the next 175 years. Now known at "St Mary le Savoy", the parishioners chose and paid for their own ministers. The most famous of these was Thomas Fuller, the church historian, who was appointed in 1642, fled during the Civil War and was restored to his living in 1660. 
Following the execution of Somerset, his palace had passed to the possession of the Crown. Elizabeth I occasionally lodged there and it was from Somerset House that she set off to give thanks after the defeat of the Armada. Under the Stuarts, extensive improvements were made to the palace, the most impressive being the lavish Roman Catholic chapel built by Charles I's queen, Henrietta Maria.
The roadway in front of Somerset House, where Strand Cross had stood and where the present church was later to stand, was occupied in the early seventeenth century by a windmill used to pump water. In 1634 the first Hackney Carriage stand in England was established here by one Captain Bailey. Here also a maypole was erected which became the most famous maypole in London. Demolished by the Puritans, a new maypole was erected in 1661. Parts of this maypole remained until 1717, when they were removed and presented to Sir Isaac Newton as the base for a telescope.
In 1711, an Act of Parliament was passed for building 50 New Churches in the fast expanding suburbs of London. These were the so-called "Queen Ann Churches"; among them are Hawksmoor's Chris
t Church Spitalfields, St Anne's Limehouse, and St George's-in-the-East, Archer's St Paul's Depftord and James' St George's, Hanover Square. St Mary le Strand was quick to apply for a church to replace their demolished one and, as the site on the Strand was so prominent, the Commissioners for building the New Churches decided to make the Strand church the most lavish of the churches. Initially, it was intended that there should not be a spire but that a column celebrating the building of the New Churches should stand directly in front of the church.

General Description:
Paper thickness and quality: - Heavy and stable
Paper colour: - off white
Age of map colour: - 
Colours used: - 
General colour appearance: - 
Paper size: - 
26 1/2in x 22in (670mm x 560mm)
Plate size: - 23in x 18in (585mm x 460mm)
Margins: - min 1in (25mm)

Imperfections:
Margins: - None
Plate area: -  None
Verso: - None

$275.00 USD
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1683 Daniel King & William Dugdale Antique Print of Old St Pauls Cathedral London - Pre Great Fire

1683 Daniel King & William Dugdale Antique Print of Old St Pauls Cathedral London - Pre Great Fire

  • Title  : Ecclesiae Cathedralis Sti Pauli facies Aquilonaris / The North Prospect of ye Cathedral Church of St Paul in London
  • Date  : 1683
  • Condition: (A+) Fine Condition
  • Ref # :  16365
  • Size   : 15 1/2in x 13 1/2in (395mm x 340mm) 

Description:
This fine original copper-pate antique print of the old St Pauls Cathedral London, was engraved by Daniel King prior to the Great Fire of London in 1666 and was published by Sir William Dugdale in the 1683 edition of Monasticon Anglicanum: A History of the Abbies and other Monasteries, Hospitals, Frieries, and Cathedral and Collegiate Churches, with their Dependencies, in England and Wales.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 15 1/2in x 13 1/2in (395mm x 340mm)
Plate size: - 14 1/2in x 9in (370mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued, small repair to bottom of page not affecting the image 
Verso: - None

Background: Old St Paul's Cathedral was the medieval cathedral of the City of London that, until 1666, stood on the site of the present St Paul's Cathedral. Built in 1087–1314 and dedicated to Saint Paul, the cathedral was the fourth church on the site at Ludgate Hill. Work began during the reign of William the Conqueror after a fire in 1087 that destroyed much of the city. Work took more than 200 years, and construction was delayed by another fire in 1135. The church was consecrated in 1240 and enlarged again in 1256 and the early 14th century. At its completion in the middle of the 14th century, the cathedral was one of the longest churches in the world and had one of the tallest spires and some of the finest stained glass.
The presence of the shrine of Saint Erkenwald made the cathedral a pilgrimage site during the Medieval period. In addition to serving as the seat of the Diocese of London, the building developed a reputation as a hub of the City of London, with the nave aisle, "Paul's walk", known as a centre for business and the London grapevine. After the Reformation, the open-air pulpit in the churchyard, St Paul's Cross, became the stage for radical evangelical preaching and Protestant bookselling.
The cathedral was already severely in decline by the 17th century. Restoration work by Inigo Jones in the 1620s was halted by the English Civil War. Sir Christopher Wren was attempting another restoration in 1666 when the cathedral was destroyed in the Great Fire of London. After demolition of the old structure, the present, domed cathedral was erected on the site, with an English Baroque design by Wren

Sir William Dugdale 1605-1686 was an English antiquary and herald. As a scholar he was influential in the development of medieval history as an academic subject.

$425.00 USD
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1855 Joseph Hooker & Water Fitch Large Antique Botanical Print of Lard Fruit of SE Asia - Hodgsonia

1855 Joseph Hooker & Water Fitch Large Antique Botanical Print of Lard Fruit of SE Asia - Hodgsonia

  • Title: Hodgsonia Heteroclita, Hook. fil. et Thoms
  • Date: 1855
  • Ref: 80768
  • Size: 20in x 15in (510mm x 380mm)
  • Condition: A+ Fine

Description:
This beautifully hand coloured original 1855 antique lithograph print of the Hodgsonia or Lard Fruit plant - that grows from northern India to SE Asia & Indonesia, is one of a series of illustrations made for J. F. Cathcart of the Bengal Civil Service by Sir Joseph Dalton Hooker for the 1855 publication of Illustrations of Himalayan plants.
This publication contained 24 coloured plates all superbly engraved and hand coloured. The plates were executed by W. H. Fitch, analysed by the famous botanist J. D. Hooker.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - Early
Colors used: - Red, pink, green, brown
General color appearance: - Authentic
Paper size: - 20in x 15in (510mm x 380mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Discolouration to the top left & right margins
Plate area: - None
Verso: - None

Hodgsonia or Lard Fruit - Although the flesh of Hodgsonia fruit is inedible and considered worthless, the large, oil-rich seeds are an important source of food. The kernels are occasionally eaten raw; they are slightly bitter, possibly due to an unidentified alkaloid or glucoside, but "perfectly safe" to eat. More commonly, the seeds are roasted, after which they taste like pork scraps or lard; many mountain peoples consider these roasted seeds a delicacy. In addition to eating the seeds alone, the Naga incorporate them into various types of curry.

Sir Joseph Dalton Hooker (1817 – 1911) was one of the greatest British botanists and explorers of the 19th century. Hooker was one of the founders of geographical botany, and Charles Darwin's closest friend. He was Director of the Royal Botanical Gardens, Kew, for twenty years, in succession to his father, William Jackson Hooker, and was awarded the highest honours of British science.
On 11 November 1847 Hooker left England for his three year long Himalayan expedition; he would be the first European to collect plants in the Himalaya.
By his travels and his publications, Hooker built up a high scientific reputation at home. In 1855 he was appointed Assistant-Director of the Royal Botanic Gardens, Kew, and in 1865 he succeeded his father as full Director, holding the post for twenty years. Under the directorship of father and son Hooker, the Royal Botanical gardens of Kew rose to world renown. At the age of thirty, Hooker was elected a fellow of the Royal Society, and in 1873 he was chosen its President (till 1877). He received three of its medals: the Royal Medal in 1854, the Copley in 1887 and the Darwin Medal in 1892. He continued to intersperse work at Kew with foreign exploration and collecting. His journeys to Palestine, Morocco and the United States all produced valuable information and specimens for Kew.
He started the series Flora Indica in 1855, together with Thomas Thompson. Their botanical observations and the publication of the Rhododendrons of Sikkim-Himalaya (1849–51), formed the basis of elaborate works on the rhododendrons of the Sikkim Himalaya and on the flora of India. His works were illustrated with lithographs by Walter Hood Fitch.

Walter Hood Fitch (1817 - 1892) was a botanist and botanical artist. He was born in Glasgow, Scotland.
Fitch was involved in fabric printing from the age of 17 and took to botanical art after being discovered by William Jackson Hooker, the editor of Curtis's Botanical Magazine. Hooker was a Professor of Botany at the University of Glasgow, and a competent botanical artist in his own right.
Fitch's important works are his illustrations for W. J. Hooker's A Century of Orchidaceous Plants (1851), and for James Bateman's A Monograph of Odontoglossum (1864-74). He also created around 500 plates for Hooker's Icones Plantarum (1836-76). Some of his most notable work was for George Bentham and W.J. Hooker's Handbook of the British Flora (1865). When Joseph Dalton Hooker returned from his travels in India, Fitch prepared lithographs from Hooker's sketches for his Rhododendrons of Sikkim Himalaya (1849-51) and, from the drawings of Indian artists, for his Illustrations of Himalayan Plants (1855).
A dispute over pay with Joseph Dalton Hooker ended Fitch's service to both the Botanical Magazine and Kew although he was much sought after and remained active as a botanical artist until 1888. Works during this period included Henry John Elwes's Monograph of the Genus Lilium (1877-80). (Ref: M&B; Tooley)

$850.00 USD
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1807 Baudin & Petit Antique Print of a Sydney & Port Jackson Aboriginal Warrior

1807 Baudin & Petit Antique Print of a Sydney & Port Jackson Aboriginal Warrior

  • Title : Nouvelle-Hollande. Nelle Galles Du Sud. Nourou-gal-derri & avancant pour combattre
  • Size: 14in x 10in (355mm x 255mm)
  • Condition: (A+) Fine Condition
  • Date : 1807
  • Ref #:  91240

Description:
This exquisite, rare original copper-plate engraved antique print of an Aboriginal warrior of Port Jackson carrying a spear & shield, was engraved by Barthélemy Roger, after the 1802 drawing by Nicolas-Martin Petit and was published by Francois Peron (1775 - 1810) in the 1st edition atlas of Nicolas Thomas Baudins expedition to Australia Voyage de découvertes aux Terres Australes in 1807.
This is a wonderful original stipple point engraving by Petit & Roger bringing to life this wonderful 1st Australian.

Nicholas Martin Petit sailed with Nicolas Baudin on the expedition of the Géographe and the Naturaliste in late 1800. The scientific field of anthropology was in its infancy – the French had founded the Society of the Observers of Man in 1799. Having embarked as a fourth-class gunner’s mate, Petit, who had had some graphic arts training, became one of the expeditions two illustrators when the official artists quit. From June to November 1802, the expedition was delayed in Sydney while its two ships were repaired. During this time Petit completed portraits of people of the Cadigal, Dharawal, Gweagal, Kurringai and Darug language groups of the Sydney Harbour region. While the sitters names appear to be noted on the works, it is possible that the inscriptions merely reflect French misinterpretation of the Aborigines communications with them.
The portrait of Nourou-gal-derri is pictured advancing for battle.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 10in (355mm x 255mm)
Plate size: - 12 1/2in x 9 1/2in (320mm x 240mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - 2 small repair to left margin, no loss
Verso: - None

Background: 
The Baudin Expedition of 1800 to 1803 was a French expedition to map the coast of New Holland, Australia. The expedition started with two ships, Géographe, captained by Baudin, and Naturaliste captained by Jacques Hamelin, and was accompanied by nine zoologists and botanists, including Jean-Baptiste Leschenault de la Tour, François Péron and Charles-Alexandre Lesueur as well as the geographer Pierre Faure.
The Baudin expedition departed Le Havre, France, on 19 October 1800. Because of delays in receiving his instructions and problems encountered in Isle de France (now Mauritius) they did not reach Cape Leeuwin on the south-west corner of Australia until May 1801. Upon rounding Cape Naturaliste, they entered Geographe Bay. They then sailed north, but the ships became separated and did not meet again until they reached Timor. On their journeys the Géographe and the Naturaliste surveyed large stretches of the north-western coast. The expedition was severely affected by dysentery and fever, but sailed from Timor on 13 November 1801, back down the north-west and west coast, then across the Great Australian Bight, reaching Tasmania on 13 January 1802. They charted the whole length of Tasmanias east coast and there were extensive interactions with the Indigenous Tasmanians, with whom they had peaceful relationships. They notably produced precious ethnological studies of Indigenous Tasmanians.
The expedition then began surveying the south coast of Australia, but then Captain Jacques Felix Emmanuel Hamelin in Naturaliste decided to make for Port Jackson (Sydney) as he was running short of food and water, and in need of anchors. En route, in April 1802, Hamelin explored the area of Western Port, Victoria, and gave names to places, a number of which have survived, for example, Ile des Français is now called French Island.
Meanwhile, Baudin in the Géographe continued westward, and in April 1802 encountered the British ship Investigator commanded by Matthew Flinders, also engaged in charting the coastline, at Encounter Bay in what is now South Australia. Flinders informed Baudin of his discovery of Kangaroo Island, St. Vincents and Spencers Gulfs. Baudin sailed on to the Nuyts Archipelago, the point reached by t Gulden Zeepaert in 1627 before heading for Port Jackson as well for supplies.
In late 1802 the expedition was at Port Jackson, where the government sold 60 casks of flour and 25 casks of salt meat to Baudin to resupply his two vessels. The supplies permitted Naturaliste to return to France and Géographe to continue her explorations of the Australian coast. Naturaliste took with her the Colonys staff surgeon, Mr. James Thomson, whom Governor Philip Gidley King had given permission to return to England.
Before resuming the voyage Baudin purchased a 30 ton schooner, which he named the Casuarina, a smaller vessel which could conduct close inshore survey work. He sent the larger Naturaliste under Hamelin back to France with all the specimens that had been collected by Baudin and his crew. As the voyage had progressed Louis de Freycinet, now a Lieutenant, had shown his talents as an officer and a hydrographer and so was given command of the Casuarina. The expedition then headed for Tasmania and conducted further charting of Bass Strait before sailing west, following the west coast northward, and after another visit to Timor, undertook further exploration along the north coast of Australia. Plagued by contrary winds, ill health, and because the quadrupeds and emus were very sick, it was decided on 7 July 1803 to return to France. On the return voyage, the ships stopped in Mauritius, where Baudin died of tuberculosis on 16 September 1803. The expedition finally reached France on 24 March 1804.
The scientific expedition was considered a great success, with more than 2500 new species discovered.

Nicolas-Martin Petit 1777 – 1804
Nicholas-Martin Petit was born in Paris, the son of a fan maker, and learned graphic art in the studio of Jacques Louis David. He avoided conscription into Napoleons armies, but wanting to travel, signed up with post Captain Nicholas Baudin on a voyage to the antipodes sponsored by the French government. Petit and fellow artist Charles-Alexandre Lesueur were enlisted directly by Baudin (as 4th class gunners mates) while the two official artists were hired by the organisers of the expedition. Baudin set off in two lavishly equipped vessels, the Géographe and the Naturaliste on 19 October 1800. By the time the expedition reached Mauritius the official artists had quit. Petit and Lesueur took over their duties, but as neither was trained in scientific method or presentation, the value of their work was primarily aesthetic. The French were at this time developing a new scientific field - anthropology. The Society of the Observers of Man was founded in 1799 for this purpose. The study of Man formed part of the background for Petits sensitive drawings and paintings of the indigenous people of Van Diemens Land, Port Jackson and Western Australia. Lesueur focused on the depiction of animals. The expedition charted the coast of Western Australia and Van Diemens land but was plagued by scurvy. On 20 June 1802 the two ships limped into Port Jackson and stayed for five months to refit, during which time Petit completed a number of portraits of Sydney Indigenous people, including the two images of the Eora men, Cour-rou-bari-gal and Y-erren-gou-la-ga. Petit eventually returned to France in 1804. However, before he was well enough to complete the drawings from the expedition he was hurt in a street accident, and he died at the age of 28. Petits unfinished work was first published in 1807 in the Atlas of the Voyage de découvertes aux terres australes and as discrete prints.

Baudin, Nicolas Thomas 1754 – 1803
Baudin was a French explorer, cartographer, naturalist and hydrographer. Born a commoner in Saint-Martin-de-Ré on the Île de Ré on 17 February 1754 Baudin joined the merchant navy at the age of 15 and the French East India Company at the age of 20.
Baudin then joined the La Marine Royale (French Navy) in 1774 and served in the Caribbean as an officier bleu during the American War of Independence of 1775–1783.
In 1785 Baudin and his brother Alexandre were respectively masters of the St Remy and Caroline, taking Acadian settlers from Nantes to La Nouvelle Orléans. In New Orleans local merchants contracted him to take a cargo of wood, salted meat, cod and flour to Isle de France (now Mauritius), which he did in Josephine (also called Pepita), departing New Orleans on 14 July 1786 and arriving at Isle de France on 27 March 1787. In the course of the voyage, Josephine had called at Cap‑Français in Haiti to make a contract to transport slaves there from Madagascar; while in Haiti he also encountered the Austrian botanist Franz Josef Maerter, who apparently informed him that another Austrian botanist, Franz Boos, was at the Cape of Good Hope awaiting a ship to take him to Mauritius. Josephine called at the Cape and took Boos on board. At Mauritius, Boos chartered Baudin to transport him and the collection of plant specimens he had gathered there and at the Cape back to Europe, which Baudin did, Josephine arriving at Trieste on 18 June 1788. The Imperial government in Vienna was contemplating organizing another natural-history expedition, to which Boos would be appointed, in which two ships would be sent to the Malabar and Coromandel coasts of India, the Persian Gulf, Bengal, Ceylon, Sumatra, Java, Borneo, Cochin China, Tongking, Japan and China. Baudin had been given reason to hope that he would be given command of the ships of this expedition.
Later in 1788 Baudin sailed on a commercial voyage from Trieste to Canton in Jardiniere. He apparently arrived at Canton from Mauritius under the flag of the United States of America, probably to avoid the possibility of having his ship seized by the Chinese for payment of the debts owed them by the Imperial Asiatic Company of Trieste. From there, he sent Jardiniere under her second captain on a fur-trading venture to the north-west coast of America, but the ship foundered off Asuncion Island in the Marianas in late 1789.
Baudin made his way to Mauritius, where he purchased a replacement ship, Jardiniere II, but this vessel was wrecked in a cyclone that struck Port Louis on 15 December 1789. Baudin embarked on the Spanish Royal Philippines Company ship, Placeres, which sailed from Port Louis for Cadiz in August 1790. Placeres called at the Cape of Good Hope where it took on board the large number of plant and animal specimens collected in South Africa for the Imperial palace at Schönbrunn by Georg Scholl, the assistant of Franz Boos. Because of the poor condition of the ship, Placeres had to put in at the island of Trinidad in the West Indies, where Scholls collection of specimens was deposited.
Baudin proceeded to Martinique, from where he addressed an offer to the Imperial government in Vienna to conduct to Canton commissioners who would be empowered to negotiate with the Chinese merchants there a settlement of the debts incurred by the Imperial Asiatic Company, which would enable the company to renew its trade with China. On its return voyage from Canton, the proposed expedition would call at the Cape of Good Hope to pick up Scholl and the remainder of his natural-history collection for conveyance to Schönbrunn.
After returning to Vienna in September 1791, Baudin continued to press his case for an expedition under the Imperial flag to the Indian Ocean and China, and in January 1792 he was granted a commission of captain in the Imperial navy for this purpose. A ship, called Jardiniere, was acquired and the botanists Franz Bredemeyer and Joseph van der Schot appointed to the expedition. After delays caused by the outbreak of war between France and Austria (April 1792), Jardiniere departed from the Spanish port of Málaga on 1 October 1792. From the Cape of Good Hope Jardiniere sailed across the Indian Ocean to the coast of New Holland (Australia), but two consecutive cyclones prevented the expedition from doing any work there and forced Baudin to take the ship to Bombay for repairs.
From Bombay the expedition proceeded to the Persian Gulf, the Red Sea and the east coast of Africa, where it gathered botanical and zoological collections. The expedition came to an abrupt end in June 1794 when Jardiniere went aground in a storm while attempting to enter Table Bay at the Cape of Good Hope. Baudin survived the wreck and made his way to the United States, from where he went to France. He managed to send Jardinieres cargo of natural history specimens to the island of Trinidad.
In Paris, Baudin visited Antoine de Jussieu at the Museum National dHistoire Naturelle in March 1796 to suggest a botanical voyage to the Caribbean, during which he would recover the collection of specimens he had left in Trinidad. The Museum and the French government accepted the proposal, and Baudin was appointed commander of an expedition in the ship Belle Angélique, with four assigned botanists: René Maugé, André Pierre Ledru, Anselme Riedlé and Stanislas Levillain. Belle Angélique cleared Le Havre on 30 September 1796 for the Canary Islands, where the ship was condemned as unseaworthy. The expedition sailed from the Canaries in a replacement vessel, Fanny, and reached Trinidad in April 1797. The British, who had just captured the island from the Spanish in February 1797, refused to allow Baudin to recover the collection of natural-history specimens. Baudin took Fanny to St. Thomas and St. Croix, and then to Puerto Rico, specimens being collected in all three islands. At St Croix, Fanny was replaced by a newly purchased ship, renamed Belle Angelique. The expedition returned to France in June 1798 with a large collection of plants, birds and insects, which was incorporated into Napoleon Bonapartes triumphal procession celebrating his recent Italian victories.
On 24 July 1798, at the suggestion of the Ministry of Marine, Baudin presented to the Assembly of Professors and Administrators of the National Museum of Natural History a plan for a hydrographic-survey expedition to the South Seas, which would include a search for fauna and flora that could be brought back for cultivation in France. The expedition would also have the aim of promoting the economic and commercial interests of France in the regions to be visited. The expedition would require two well-equipped ships, which would carry a team of astronomers, naturalists and scientific draughtsmen over whom Baudin as commander would have absolute authority. The first part of the voyage would be devoted to a thorough exploration of the coast of Chile and the collection of animal, bird and plant specimens suitable for acclimatization in France, followed by a survey of the coasts from Peru to Mexico. The expedition would then continue into the Pacific Ocean, including a visit to Tahiti and the Society Islands, and would be completed with a survey of the yet unexplored south-west coast of New Holland (Australia). After considering this extensive proposal, the French government decided to proceed with an expedition confined to a survey of western and southern New Holland (as Australia was called at the time).
In October 1800 Baudin was selected to lead what has become known as the Baudin expedition to map the coast of Australia (New Holland). He had two ships, Géographe and Naturaliste captained by Hamelin, and a suite of nine zoologists and botanists, including Jean Baptiste Leschenault de la Tour. He reached Australia in May 1801, and would explore and map the western coast and a part of the little-known southern coast of the continent. The scientific expedition proved a great success, with more than 2500 new species discovered. The French also met Aboriginal peoples and treated them with great respect.
In April 1802 Baudin met Matthew Flinders, also engaged in charting the coastline, in Encounter Bay in present-day South Australia. Baudin then stopped at the British colony at Sydney for supplies. In Sydney he bought a new ship — Casuarina — named after the wood it was made from. From there he sent home Naturaliste, which had on board all of the specimens that had been discovered by Baudin and his crew. He then headed for Tasmania, before continuing north to Timor. Baudin then sailed for home, stopping at Mauritius.
According to recent researches by academics from the University of Adelaide, during Baudins expedition, François Péron, who had become the chief zoologist and intellectual leader of the mission, wrote a report for Napoleon on ways to invade and capture the British colony at Sydney Cove.
Baudin died of tuberculosis at Mauritius on 16 September 1803, at the age of 49, apparently in the home of Madame Alexandrine Kerivel. Baudins exact resting place is not known, but the historian Auguste Toussaint believed that he was interred in the Kerivel family vault. However, the historian Edward Duyker likes to think that Baudin was buried in Le Cimetière de lOuest in the district of Port Louis just a few hundred metres from the explorers certain love: the sea.

Please note all items auctioned are genuine, we do not sell reproductions. A Certificate of Authenticity (COA) can be issued on request.

$549.00 USD
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1807 Baudin & Petit Antique Print Sydney Aboriginal Wárrgan, Bennelong's Sister

1807 Baudin & Petit Antique Print Sydney Aboriginal Wárrgan, Bennelong's Sister

Description:
This exquisite, rare original copper-plate engraved antique print, of the (half) sister of the famous Port Jackson Aborginal leader Bennelong, Oui-ré-kine – Wárrgan (Crow), also referred to as Worogan, was engraved by Barthélemy Roger, after the 1802 drawing by Nicolas-Martin Petit, and was published by Francois Peron (1775 - 1810) in the 1st edition atlas of Nicolas Thomas Baudins expedition to Australia Voyage de découvertes aux Terres Australes
This is a wonderful original stipple point engraving by Petit & Roger bringing to life this wonderful 1st Australian.

The sitter – identified by artist Nicolas-Martin Petit as Oui-ré-kine – Wárrgan (Crow), also referred to as Worogan. In his writings about the Eora people he knew, astronomer and collector of Sydney languages William Dawes counted Wárrgan with Bennelongs sisters, although she might have been a half-sister or other relative of Bennelongs. Her husband Yeranibe (Euranabie) was the son of Maugoran, a leader of the Burramattagal clan, making Wárrgan a sister-in-law to Bidgee Bidgee, another of Petits Sydney sitters. In 1801, Wárrgan and Yeranibe joined the Lady Nelson which, under the command of James Grant, voyaged to Jervis Bay before making a survey of Bass Strait. In The Narrative of a Voyage of Discovery performed in His Majestys vessel the Lady Nelson (1803–1804), Grant related an incident wherein Wárrgan demonstrated the use of a waddy and a woomera, and how incisions were made on the body using a shell. Both Wárrgan and Yeranibe spoke English, and acted as Grant’s interpreters.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 10in (355mm x 255mm)
Plate size: - 12 1/2in x 9 1/2in (320mm x 240mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning to outer margins
Plate area: - None
Verso: - None

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 10in (355mm x 255mm)
Plate size: - 12 1/2in x 9 1/2in (320mm x 240mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning to outer margins
Plate area: - None
Verso: - None

Background: 
The Baudin Expedition of 1800 to 1803 was a French expedition to map the coast of New Holland, Australia. The expedition started with two ships, Géographe, captained by Baudin, and Naturaliste captained by Jacques Hamelin, and was accompanied by nine zoologists and botanists, including Jean-Baptiste Leschenault de la Tour, François Péron and Charles-Alexandre Lesueur as well as the geographer Pierre Faure.
The Baudin expedition departed Le Havre, France, on 19 October 1800. Because of delays in receiving his instructions and problems encountered in Isle de France (now Mauritius) they did not reach Cape Leeuwin on the south-west corner of Australia until May 1801. Upon rounding Cape Naturaliste, they entered Geographe Bay. They then sailed north, but the ships became separated and did not meet again until they reached Timor. On their journeys the Géographe and the Naturaliste surveyed large stretches of the north-western coast. The expedition was severely affected by dysentery and fever, but sailed from Timor on 13 November 1801, back down the north-west and west coast, then across the Great Australian Bight, reaching Tasmania on 13 January 1802. They charted the whole length of Tasmanias east coast and there were extensive interactions with the Indigenous Tasmanians, with whom they had peaceful relationships. They notably produced precious ethnological studies of Indigenous Tasmanians.
The expedition then began surveying the south coast of Australia, but then Captain Jacques Felix Emmanuel Hamelin in Naturaliste decided to make for Port Jackson (Sydney) as he was running short of food and water, and in need of anchors. En route, in April 1802, Hamelin explored the area of Western Port, Victoria, and gave names to places, a number of which have survived, for example, Ile des Français is now called French Island.
Meanwhile, Baudin in the Géographe continued westward, and in April 1802 encountered the British ship Investigator commanded by Matthew Flinders, also engaged in charting the coastline, at Encounter Bay in what is now South Australia. Flinders informed Baudin of his discovery of Kangaroo Island, St. Vincents and Spencers Gulfs. Baudin sailed on to the Nuyts Archipelago, the point reached by t Gulden Zeepaert in 1627 before heading for Port Jackson as well for supplies.
In late 1802 the expedition was at Port Jackson, where the government sold 60 casks of flour and 25 casks of salt meat to Baudin to resupply his two vessels. The supplies permitted Naturaliste to return to France and Géographe to continue her explorations of the Australian coast. Naturaliste took with her the Colonys staff surgeon, Mr. James Thomson, whom Governor Philip Gidley King had given permission to return to England.
Before resuming the voyage Baudin purchased a 30 ton schooner, which he named the Casuarina, a smaller vessel which could conduct close inshore survey work. He sent the larger Naturaliste under Hamelin back to France with all the specimens that had been collected by Baudin and his crew. As the voyage had progressed Louis de Freycinet, now a Lieutenant, had shown his talents as an officer and a hydrographer and so was given command of the Casuarina. The expedition then headed for Tasmania and conducted further charting of Bass Strait before sailing west, following the west coast northward, and after another visit to Timor, undertook further exploration along the north coast of Australia. Plagued by contrary winds, ill health, and because the quadrupeds and emus were very sick, it was decided on 7 July 1803 to return to France. On the return voyage, the ships stopped in Mauritius, where Baudin died of tuberculosis on 16 September 1803. The expedition finally reached France on 24 March 1804.
The scientific expedition was considered a great success, with more than 2500 new species discovered.

Nicolas-Martin Petit 1777 – 1804
Nicholas-Martin Petit was born in Paris, the son of a fan maker, and learned graphic art in the studio of Jacques Louis David. He avoided conscription into Napoleons armies, but wanting to travel, signed up with post Captain Nicholas Baudin on a voyage to the antipodes sponsored by the French government. Petit and fellow artist Charles-Alexandre Lesueur were enlisted directly by Baudin (as 4th class gunners mates) while the two official artists were hired by the organisers of the expedition. Baudin set off in two lavishly equipped vessels, the Géographe and the Naturaliste on 19 October 1800. By the time the expedition reached Mauritius the official artists had quit. Petit and Lesueur took over their duties, but as neither was trained in scientific method or presentation, the value of their work was primarily aesthetic. The French were at this time developing a new scientific field - anthropology. The Society of the Observers of Man was founded in 1799 for this purpose. The study of Man formed part of the background for Petits sensitive drawings and paintings of the indigenous people of Van Diemens Land, Port Jackson and Western Australia. Lesueur focused on the depiction of animals. The expedition charted the coast of Western Australia and Van Diemens land but was plagued by scurvy. On 20 June 1802 the two ships limped into Port Jackson and stayed for five months to refit, during which time Petit completed a number of portraits of Sydney Indigenous people, including the two images of the Eora men, Cour-rou-bari-gal and Y-erren-gou-la-ga. Petit eventually returned to France in 1804. However, before he was well enough to complete the drawings from the expedition he was hurt in a street accident, and he died at the age of 28. Petits unfinished work was first published in 1807 in the Atlas of the Voyage de découvertes aux terres australes and as discrete prints.

Baudin, Nicolas Thomas 1754 – 1803
Baudin was a French explorer, cartographer, naturalist and hydrographer. Born a commoner in Saint-Martin-de-Ré on the Île de Ré on 17 February 1754 Baudin joined the merchant navy at the age of 15 and the French East India Company at the age of 20.
Baudin then joined the La Marine Royale (French Navy) in 1774 and served in the Caribbean as an officier bleu during the American War of Independence of 1775–1783.
In 1785 Baudin and his brother Alexandre were respectively masters of the St Remy and Caroline, taking Acadian settlers from Nantes to La Nouvelle Orléans. In New Orleans local merchants contracted him to take a cargo of wood, salted meat, cod and flour to Isle de France (now Mauritius), which he did in Josephine (also called Pepita), departing New Orleans on 14 July 1786 and arriving at Isle de France on 27 March 1787. In the course of the voyage, Josephine had called at Cap‑Français in Haiti to make a contract to transport slaves there from Madagascar; while in Haiti he also encountered the Austrian botanist Franz Josef Maerter, who apparently informed him that another Austrian botanist, Franz Boos, was at the Cape of Good Hope awaiting a ship to take him to Mauritius. Josephine called at the Cape and took Boos on board. At Mauritius, Boos chartered Baudin to transport him and the collection of plant specimens he had gathered there and at the Cape back to Europe, which Baudin did, Josephine arriving at Trieste on 18 June 1788. The Imperial government in Vienna was contemplating organizing another natural-history expedition, to which Boos would be appointed, in which two ships would be sent to the Malabar and Coromandel coasts of India, the Persian Gulf, Bengal, Ceylon, Sumatra, Java, Borneo, Cochin China, Tongking, Japan and China. Baudin had been given reason to hope that he would be given command of the ships of this expedition.
Later in 1788 Baudin sailed on a commercial voyage from Trieste to Canton in Jardiniere. He apparently arrived at Canton from Mauritius under the flag of the United States of America, probably to avoid the possibility of having his ship seized by the Chinese for payment of the debts owed them by the Imperial Asiatic Company of Trieste. From there, he sent Jardiniere under her second captain on a fur-trading venture to the north-west coast of America, but the ship foundered off Asuncion Island in the Marianas in late 1789.
Baudin made his way to Mauritius, where he purchased a replacement ship, Jardiniere II, but this vessel was wrecked in a cyclone that struck Port Louis on 15 December 1789. Baudin embarked on the Spanish Royal Philippines Company ship, Placeres, which sailed from Port Louis for Cadiz in August 1790. Placeres called at the Cape of Good Hope where it took on board the large number of plant and animal specimens collected in South Africa for the Imperial palace at Schönbrunn by Georg Scholl, the assistant of Franz Boos. Because of the poor condition of the ship, Placeres had to put in at the island of Trinidad in the West Indies, where Scholls collection of specimens was deposited.
Baudin proceeded to Martinique, from where he addressed an offer to the Imperial government in Vienna to conduct to Canton commissioners who would be empowered to negotiate with the Chinese merchants there a settlement of the debts incurred by the Imperial Asiatic Company, which would enable the company to renew its trade with China. On its return voyage from Canton, the proposed expedition would call at the Cape of Good Hope to pick up Scholl and the remainder of his natural-history collection for conveyance to Schönbrunn.
After returning to Vienna in September 1791, Baudin continued to press his case for an expedition under the Imperial flag to the Indian Ocean and China, and in January 1792 he was granted a commission of captain in the Imperial navy for this purpose. A ship, called Jardiniere, was acquired and the botanists Franz Bredemeyer and Joseph van der Schot appointed to the expedition. After delays caused by the outbreak of war between France and Austria (April 1792), Jardiniere departed from the Spanish port of Málaga on 1 October 1792. From the Cape of Good Hope Jardiniere sailed across the Indian Ocean to the coast of New Holland (Australia), but two consecutive cyclones prevented the expedition from doing any work there and forced Baudin to take the ship to Bombay for repairs.
From Bombay the expedition proceeded to the Persian Gulf, the Red Sea and the east coast of Africa, where it gathered botanical and zoological collections. The expedition came to an abrupt end in June 1794 when Jardiniere went aground in a storm while attempting to enter Table Bay at the Cape of Good Hope. Baudin survived the wreck and made his way to the United States, from where he went to France. He managed to send Jardinieres cargo of natural history specimens to the island of Trinidad.
In Paris, Baudin visited Antoine de Jussieu at the Museum National dHistoire Naturelle in March 1796 to suggest a botanical voyage to the Caribbean, during which he would recover the collection of specimens he had left in Trinidad. The Museum and the French government accepted the proposal, and Baudin was appointed commander of an expedition in the ship Belle Angélique, with four assigned botanists: René Maugé, André Pierre Ledru, Anselme Riedlé and Stanislas Levillain. Belle Angélique cleared Le Havre on 30 September 1796 for the Canary Islands, where the ship was condemned as unseaworthy. The expedition sailed from the Canaries in a replacement vessel, Fanny, and reached Trinidad in April 1797. The British, who had just captured the island from the Spanish in February 1797, refused to allow Baudin to recover the collection of natural-history specimens. Baudin took Fanny to St. Thomas and St. Croix, and then to Puerto Rico, specimens being collected in all three islands. At St Croix, Fanny was replaced by a newly purchased ship, renamed Belle Angelique. The expedition returned to France in June 1798 with a large collection of plants, birds and insects, which was incorporated into Napoleon Bonapartes triumphal procession celebrating his recent Italian victories.
On 24 July 1798, at the suggestion of the Ministry of Marine, Baudin presented to the Assembly of Professors and Administrators of the National Museum of Natural History a plan for a hydrographic-survey expedition to the South Seas, which would include a search for fauna and flora that could be brought back for cultivation in France. The expedition would also have the aim of promoting the economic and commercial interests of France in the regions to be visited. The expedition would require two well-equipped ships, which would carry a team of astronomers, naturalists and scientific draughtsmen over whom Baudin as commander would have absolute authority. The first part of the voyage would be devoted to a thorough exploration of the coast of Chile and the collection of animal, bird and plant specimens suitable for acclimatization in France, followed by a survey of the coasts from Peru to Mexico. The expedition would then continue into the Pacific Ocean, including a visit to Tahiti and the Society Islands, and would be completed with a survey of the yet unexplored south-west coast of New Holland (Australia). After considering this extensive proposal, the French government decided to proceed with an expedition confined to a survey of western and southern New Holland (as Australia was called at the time).
In October 1800 Baudin was selected to lead what has become known as the Baudin expedition to map the coast of Australia (New Holland). He had two ships, Géographe and Naturaliste captained by Hamelin, and a suite of nine zoologists and botanists, including Jean Baptiste Leschenault de la Tour. He reached Australia in May 1801, and would explore and map the western coast and a part of the little-known southern coast of the continent. The scientific expedition proved a great success, with more than 2500 new species discovered. The French also met Aboriginal peoples and treated them with great respect.
In April 1802 Baudin met Matthew Flinders, also engaged in charting the coastline, in Encounter Bay in present-day South Australia. Baudin then stopped at the British colony at Sydney for supplies. In Sydney he bought a new ship — Casuarina — named after the wood it was made from. From there he sent home Naturaliste, which had on board all of the specimens that had been discovered by Baudin and his crew. He then headed for Tasmania, before continuing north to Timor. Baudin then sailed for home, stopping at Mauritius.
According to recent researches by academics from the University of Adelaide, during Baudins expedition, François Péron, who had become the chief zoologist and intellectual leader of the mission, wrote a report for Napoleon on ways to invade and capture the British colony at Sydney Cove.
Baudin died of tuberculosis at Mauritius on 16 September 1803, at the age of 49, apparently in the home of Madame Alexandrine Kerivel. Baudins exact resting place is not known, but the historian Auguste Toussaint believed that he was interred in the Kerivel family vault. However, the historian Edward Duyker likes to think that Baudin was buried in Le Cimetière de lOuest in the district of Port Louis just a few hundred metres from the explorers certain love: the sea.

Please note all items auctioned are genuine, we do not sell reproductions. A Certificate of Authenticity (COA) can be issued on request.

$475.00 USD
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