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New Castle Delaware, 1842. Ink drawing on a 9 1/4 x 12 1/2 inch sheet. Small chip in lower left corner, small crease in upper left corner. Near fine. An attractive view of an historic Delaware city, by a talented artist who also participated in notable American naval expeditions. An accomplished pen and ink drawing of New Castle, Delaware, made by United States Navy Lieutenant John B. Dale. The drawing is captioned, in Dale's hand, "New Castle, Del." and though undated was likely made around 1842, when Dale was stationed in Washington, DC, and participating in the U.S. Coastal Survey. The scene shows the skyline of New Castle, with many distinguishable steeples, towers, and multi-story buildings. Several ships are seen in the waters of Delaware Bay, on the right side of the drawing. Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the…
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Original Ink Drawing of New Castle, Delaware
by DALE, John B.
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Paris et ses alentours, à plus de trente lieues à la ronde; ouvrage national de gravures
by DAMAME-DÉMARTRAIS, Michel François (1763-1828)
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Paris: Firmin Didot, 1818. Large folio. (28 3/4 x 21 inches). Letterpress title (verso blank), 1p. dedication to Louis XVIII (verso blank), 1p. 'avant-propos' (verso blank), 30ll. explanatory text (all but two printed recto only, one leaf preceding each plate). 30 fine uncoloured aquatint plates by and after Damame-Démartrais. (The 12th plate, a view of Notre-Dame, with a repaired tear in the outer margin). Contemporary blue/green straight-grained morocco-backed paper-covered boards, the flat spine divided into six compartments by double gilt fillets, lettered in the second compartment, old repairs to spine A beautiful and rare large-scale work of views of Paris and its environs. According to Dulau's 1828 catalogue this work was originally sold in parts. They offered the present uncoloured issue at £20 (item 12456), whilst the issue with the plates printed in colours and finished by hand (item 12457) was on sale at £40. An idea of the book's current rarity can be garnered from the fact that OCLC…
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Part of the South Stack, Holyhead
by DANIELL, William (1769-1837)
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London: Longman, Hurst, Rees, Orme and Brown, 1814. Hand-coloured aquatint, drawn and engraved Daniell. Very good condition apart some overall light soiling. A fine plate from Daniell's 'A Voyage Round Great Britain', described by Tooley as ''A magnificent series of plates... The most important colour plate [work] on British Topography'' (Tooley). In early 1813, Daniell conceived of the ambitious plan to travel around the entire coastline of Britain while producing an illustrated work of the voyage. The journey began at Lands End in the summer of 1813, and from Clovelly in North Devon continued across the Bristol Channel to Wales. From St. Donat's, Daniell traveled to Swansea, where he commented on the excellence of the pottery and to Tenby, where he enjoyed the local theatre and observed the benefits of bathing. He then visited Fishguard, which he appreciated for its 'comfort and cleanliness' and Cardigan, where he admired the gaol designed by Nash. After traveling through the mountains of…
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Loch Hourne head
by DANIELL, William (1769-1837)
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London: Longman, Hurst, Rees, Orme and Brown, 1814. Hand-coloured aquatint, drawn and engraved Daniell. Very good condition apart from two tiny nicks at the extreme edge of the top margin and some overall light. A fine plate from Daniell's 'A Voyage Round Great Britain,' described by Tooley as ''A magnificent series of plates... The most important colour plate [work] on British Topography'' (Tooley). In early 1813, Daniell conceived of the ambitious plan to travel around the entire coastline of Britain while producing an illustrated work of the voyage. The journey began at Lands End in the summer of 1813, and from Clovelly in North Devon continued across the Bristol Channel to Wales. From St. Donat's, Daniell traveled to Swansea, where he commented on the excellence of the pottery and to Tenby, where he enjoyed the local theatre and observed the benefits of bathing. He then visited Fishguard, which he appreciated for its 'comfort and cleanliness' and Cardigan, where he admired the gaol designed by…
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London [Westminster Bridge and Abbey]
by DANIELL, William (1769-1837)
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London: William Daniell, 1805. Hand-coloured aquatint, drawn and engraved Daniell. (Light surface wear just below title where plate number removed). A wonderful and very rare image 'splendidly drawn, quiet and restrained in...colouring, [which] stand[s] at the high-water mark of aquatint in England' (Hardie & Clayton) This view is taken looking over the terrace at the Adelphi on the north bank of the river, across the river to the south west to Westminster Bridge, the Abbey and the old Houses of Parliament. 'After the publication of the Oriental Scenery William Daniell had clearly made up his mind that he would not be associated solely with India, and that his prowess as a draughtsman and as engraver in aquatint could well be employed for plates dealing with home scenery... in 1804-5, he made a start with a magnificent set of six views of London which show him at his very best as artist and engraver... These large views splendidly drawn, quiet and restrained in their colouring, stand at the…
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Boosh Wannah's
by DANIELL, Samuel (1775-1811)
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London: Published by Samuel Daniel, 1804. Aquatint, coloured by hand, backed, with two skillfully repaired tears into image area. Image area: 12 3/4 x 17 3/4 inches. Sheet size: 17 1/4 x 21 3/4 inches. A stunning aquatint from Samuel Daniell's celebrated work, "African Scenery and Animals at the Cape of Good Hope". Samuel was the younger brother of the famous topographical painter William Daniell, and the nephew of Thomas Daniell: the least known because of his early death, but Thomas Sutton considered him 'the most inspired and original of the three.' Samuel evidently developed a keen interest in natural history and an insatiable desire to travel, a combination which inspired him to follow in his brother's footsteps. Soon after the first British occupation of South Africa, Daniell left England for the Cape of Good Hope, arriving in December of 1799. His affable nature and considerable artistic skills earned him an appointment as artist on Truter's expedition. The party set off in October of 1801 to…
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Do Tali [Do Tal, Ellora]
by DANIELL, Thomas (1749-1840) after James WALES
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London: Published as the Act directs by Thos. Daniell, Howland Street, Fitzroy Square, 1809. Aquatint by Thomas Daniell after James Wales, coloured by hand, on 'Whatman' wove paper. Do Tali' the remarkable two storied cave complex from Plans of Hindoo Excavations in the Mountain of Ellora. This plate was engraved by Thomas Daniell after a drawing by James Wales in 1803 and is from the part of Oriental Scenery known as "Hindoo Excavations in the Mountain of Ellora near Aurangabad". The huge complex of cave temples was actually begun by Buddhists in the 6th century, eventually including Hindo and Jain temples as well. The Daniells' Oriental Scenery is considered one of the finest illustrated works on India. Thomas Daniell and his nephew William spent nine years in India making studies, sketches and drawings of the scenery, architecture, and antiquities that graced the countryside. They then devoted a further thirteen years to publishing their remarkably accurate aquatints. In Britain, the impact was…
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London Plate II [The Tower and Pool of London]
by DANIELL, William (1769-1837)
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London: William Daniell, 1804. Aquatint, tinted by hand, drawn and engraved Daniell. A fascinating and very rare image 'splendidly drawn, quiet and restrained in... colouring, [which] stand[s] at the high-water mark of aquatint in England' (Hardie & Clayton) This view is taken, from a high vantage point, from beside the Tower of London, looking westwards across the Pool of London with its mass of shipping of all sizes, to the bridges and Westminster beyond. The silhouette of the dome of St.Paul's Cathedral is visible on the horizon just to the left of the Tower. 'After the publication of the Oriental Scenery William Daniell had clearly made up his mind that he would not be associated solely with India, and that his prowess as a draughtsman and as engraver in aquatint could well be employed for plates dealing with home scenery... in 1804-5, he made a start with a magnificent set of six views of London which show him at his very best as artist and engraver... These large views splendidly drawn, quiet…
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Ryacotta, in the Barramah'l
by DANIELL, Thomas (1749-1840) and William DANIELL (1769-1837)
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London: published by Thomas Daniell, 1802. Aquatint by and after Thomas & William Daniell, coloured by hand, on 'Whatman' wove paper. Image size: 16 1/2 x 23 1/2 inches; 21 1/8 x 29 1/8 inches. A very fine view of the Barramah'l region that had just recently been wrested from Tippoo Sultan's grasp when the Daniells visited. "Rayakottai formed part of a chain of military outposts used by Tipu Sultan's forces on their campaigns in the Tamil country. A British flag flying proudly from a lookout halfway up the hill proclaims the recent British victory. Rings of walls encircling the central granite rock at successive levels were clearly visible to the Daniells, but can hardly be traced now" (Martinelli/Michell p.144). The Daniells' Oriental Scenery is considered to be the finest illustrated works on India. Thomas Daniell and his nephew William spent nine years in India making studies, sketches and drawings of the scenery, architecture, and antiquities that graced the countryside. They then devoted a…
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View of the Palais Royal, drawn in Octr. 1827
by DANIELL, William (1769-1837)
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London: Wiliiam Daniell, 1828. Hand-coloured aquatint engraving by Daniell. A fine very rare architectural view of the residence of the Louis Philippe, Duc d'Orleans. The scene that Daniell presents is full of life and interest: the foreground teems with figures going about the every day life of the palace, whilst to the left hand side building work progresses with workmen on scaffolding concentrating on hoisting a large block of stone shown half way up the façade. Although this print is not recorded by Sutton in his magisterial work on the Daniells, he does list a picture exhibited at the Royal Academy in London in the summer exhibition of 1828, titled "Scene in the grounds of H.R.H. the Duke of Orleans at Neuilly." This may be of the same scene in which case it appears that Daniell issued the present print in an attempt to take advantage of the interest that the picture in the exhibition was generating. William Daniell (1769-1837), nephew of Thomas Daniell, R.A. is best known for his views of…
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Canada Louisiane et Terres Angloises
by D'ANVILLE, Jean Baptiste Bourguignon (1697-1782)
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Paris, 1755. Copper-engraved map, on four unjoined sheets. Large inset titled "Le Fleuve Saint-Laurent..." D'Anville's four sheet map of North America after John Mitchell. This four sheet map shows North America from James Bay to Florida and as far west as the Mississippi River. The map was based in part on Mitchell's famous map of the United States which appeared earlier in the same year. D'Anville developed his version of the map with an emphasis on French influence on the area, omitting Mitchell's legend, references to English factories in the disputed trans-Allegheny area, and drew on French sources for additional details over the Mitchell map. The map provides early detail along the lower portion of the Missouri (alternately the "Pekitanoui") and the upper waters of the Mississippi. The Keweenaw peninsula is named as Kiaonan, and Isle Royale is called I. Minong. It is filled with scores of Indian tribes and villages named and located. "To illustrate the cartography of the second half of the…
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Amerique Septentrionale
by D'ANVILLE, Jean Baptiste Bourguignon (1697-1782)
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Paris, 1746. Copper engraved map, on four unjoined sheets, period hand-colouring in outline. One of the best French Maps of North America prior to the French & Indian War. "To illustrate the cartography of the second half of the eighteenth century, a d'Anville map is essential. He dominated not only French but all contemporary geographers. He was one of the foremost to leave blank spaces in his maps where knowledge was insufficient" (Tooley). Jean Baptiste Bouguignon d'Anville was appointed Royal Geographer to Louis XV at the age of twenty. A meticulous scholar of cartographic sources, he drew on more than fifty years of French exploration of the region to draft this map. Cavalier de La Salle was the first explorer to travel down the Mississippi to the Gulf in 1682, claiming the region for France. The Sieur d'Iberville founded New Orleans in 1717, and by the time this map was drafted, the French had heavily explored the region. As shown here, they had at various times established a series of forts…
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Le Marche aux herbes á Amsterdam / (The Herb Market in Amsterdam)
by DAVID, François Anne after Gabriel METZU
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1774. Engraving. Proof before letters. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on all sides. Two very light waterstains on bottom edge of sheet. This captivating print is a rare proof impression of Francois Anne David's celebrated print depicting a bustling herb market in Amsterdam. Francois Anne David was a highly regarded engraver working in Paris at the close of the eighteenth century. Born in 1741, David garnered a reputation as a talented portrait engraver. He was the master of J. P. Lebas and a regular exhibitor at the Paris Salon from 1802 to 1819. He was an esteemed member of the Academy in Rouen and in Berlin, and his prints can be found in some the most noted European museums. This delightful genre scene is regarded as one of his finest engravings. From the collection of Frederic R. Halsey, a famous New York print collector, who was active during the latter part of the 19th century. Benezit, Dictionnaire des…
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This Portrait of Mr. C. Davis, his Majesty's Huntsman, on the Hermit is with permission dedicated to the Right Hnble. The Earl of Errol K.T. master of his Majesty's Buck Hounds
by DAVIS, After Richard Barrett (1782-1854)
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London: Published by R. B. Davis, 1836. Hand-coloured lithograph by J. W. Giles. Printed by J. Graf on India paper and mounted on larger sheet of wove paper. Good condition apart from some overall light soiling, a number of mild water stains in the margins, and slight discolouration of the paper due to age. An striking print after Richard Bennett Davis, animal painter to King George IV and Queen Victoria, from the "Hunters Annual" series. A very fine equestrian portrait from a series that eventually included sixteen prints and was issued in four parts. The hounds are also very carefully observed and qualify as canine portraits in their own right. "Richard Barrett Davis was the son of Richard Davis, huntsman to George III's private harriers. Initially self-taught, he came to the notice of the King who arranged for him to be given proper training...He exhibited paintings at the Royal Academy for over fifty years, his first exhibit being in 1802. In 1831 he was appointed animal painter to George IV and…
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This Print of T. Goosey, Huntsman, to the Belvoir Hounds, is dedicated to the Lord Forrester, master of the hunt
by DAVIS, After Richard Barrett (1782-1854)
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[London, 1836. Lithograph, hand-coloured, by J.W. Giles, on india paper mounted. An excellent example of this print after Davis, animal painter to King George IV and Queen Victoria. From the 'Hunters Annual' series (part 1, plate 2) A very fine equestrian portrait, full of movement and excitement, from a series that eventually included sixteen prints, issued in four parts. The hounds are also very carefully observed and qualify as canine portraits in their own right. "Richard Barrett Davis was the son of Richard Davis, huntsman to George III's private harriers. Initially self-taught, his ability came to the notice of the King who arranged for him to be given proper training... He exhibited paintings at the Royal Academy for over fifty years, his first exhibit being in 1802. In 1831 he was appointed animal painter to George IV and later Queen Victoria." (Charles Lane British Racing Prints p.98). Mellon British Sporting and Animal Prints p. 63; Schwerdt I, p.258.
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Sir Charles Hardy
by DAWE, Philip (c. 1740 - 1832) after Thomas HUDSON
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London: Published by Robert Wilkinson, No 58 in Cornhill, 1779. Mezzotint. State ii/ii with the engraved inscription. The name of the sitter in closed thick and thin letters, his titles in script strengthened to right. In good condition with the exception of some minor creases reflective of the age of the print. Small margins outside the plate mark on all sides. A small tear into the image on top margin and a small crease along upper left corner. Bottom left corner has been skillfully repaired. Image size: 12 1/2 x 9 7/8 inches. A lovely proof impression of a striking portrait of Sir Charles Hardy, then governor of New York. Dawe's portrait of Charles Hardy depicts the admiral in full military regalia in front of the scene of his victory over the French and Spanish fleets. Hardy had a long and distinguished military career that took him to Georgia and the Carolinas to protect sea trade against Spanish privateers and ultimately saw him in command of the Channel Fleet when Augustus Keppel retired. In…
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Children Gathering Black-Berries
by DAWE, Philip (c. 1740-1832) after Geoge MORLAND (1763-1804)
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London: Published by William Dickinson, 1788. Mezzotint with added hand colour. In excellent condition with the exception of some repairs in the margins. Image size: 18 1/4 x 13 3/4 inches. A lovely impression of this beautiful print after George Morland, a master of English genre painting. George Morland was one of the most successful genre painters of his time, creating, during his industrious career, some of England's most cherished paintings. At an early age Morland displayed his artistic genius, he learned to paint at three and exhibited his first work at the Royal Academy at the mere age of ten. Morland was a prodigious painter, producing more than 4000 paintings during the entirety of his career, and sometimes painting two or three works in a day. His beautiful idealistic scenes were a favorite source of inspiration for contemporary engravers, and as many as 250 separate engravings were done of his paintings during his lifetime. Morland is considered a master of genre, his beautiful paintings…
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[INDIA] Descriptio Chorographica Indiae Orientalis, Delineationem Imperii, Sine Regni Magni Mogol Exhibens
by DE BRY, Theodor (1528-1598), Johann Theodor DE BRY (1561-1623), Johann Israel DE BRY [after] William BAFFIN (1584-1622)
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[Frankfurt, 1627. 15 1/8 x 12 7/16. Copper engraved map. Uncoloured, on laid paper. The first Modern European map of India. Copper engraved map of modern-day India, Pakistan, and Bangladesh, published by Wilhelm Fitzer the successor to Johann Theodor de Bry (1561-1623) and Johann Israel de Bry (1565-1609), the sons of Theodor de Bry. This version of the map includes the original Mughal seal with its contents in Persian Script. The map is closely related to that of William Baffin, its use of original script in Jahangir's dynastic seal in the upper right precludes the De Bry edition having been derived directly from the printed Baffin map. Baffin is widely understood to be the author of the manuscript map on which the printed map is based, having prepared it for Sir Thomas Roe's 1617 geographical commpendium on India. Susan Gole, in Early Maps of India, lists six states or editions of the Baffin map of India but did not record the present version. A comparison of this edition with the original Baffin…
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Île d'Éléphantine et Syene 1. Vue de L'Île et des Environs. 2. Vue de Syene. 3. Vue d'un rocher de granit portant les traces de l'exploitation
by [DESCRIPTION DE L'EGYPTE]
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Paris, 1830. Copper engraving after Jollois & Devilliers and (3) Jomard by Baltard and (3) Monsaldy. Very good condition. A fine plate from 'Description de l'Egypte', the seminal publication by the French government detailing the results of the Napoleon's pioneering military and scientific expedition to Egypt (1798-1801) and the first comprehensive illustrated description of ancient and modern Egypt. In 1798, Napoleon embarked on his legendary expedition to Egypt with the ambition of wresting control of the region from the Turkish Empire and 'opening' the enigmatic kingdom to the West. Conquering Egypt, the geographical centerpoint in the axis of trade between Europe, India and the East, was an integral part of Bonaparte's strategic plan for global domination. Among the numerous civilians accompanying him, were the 'savants', leading French scholars, artists, scientists, engineers and technicians, whom he commissioned to compile a thorough survey of every aspect of Egypt that could later be used in…
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Edfou (Apollinopolis Magna.) Vue de l'Intérieur du Portique du Grand Temple
by [DESCRIPTION DE L'EGYPTE]
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Paris, 1830. Copper engraving after Cecile by Lorieux with aquatint by Desmaisons. Very good condition. A fine plate from 'Description de l'Egypte', the seminal publication by the French government detailing the results of the Napoleon's pioneering military and scientific expedition to Egypt (1798-1801) and the first comprehensive illustrated description of ancient and modern Egypt. In 1798, Napoleon embarked on his legendary expedition to Egypt with the ambition of wresting control of the region from the Turkish Empire and 'opening' the enigmatic kingdom to the West. Conquering Egypt, the geographical centerpoint in the axis of trade between Europe, India and the East, was an integral part of Bonaparte's strategic plan for global domination. Among the numerous civilians accompanying him, were the 'savants', leading French scholars, artists, scientists, engineers and technicians, whom he commissioned to compile a thorough survey of every aspect of Egypt that could later be used in planning the…
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