Albany: Carroll and Cook, 1844. Hand colored lithograph of two birds - (Sanderling and Sandlark). Minor browning to edges. Light foxing. Size: 11.25 x 9 inches. Print/092820. Very Good. More

Albany: Carroll and Cook, 1844. Hand colored lithograph of two birds - plovers. Minor browning to edges. Light foxing. Short tears to edges, but image not affected. Size: 11.25 x 9 inches. Print/092820. Very Good. More

Albany: Carroll and Cook, 1844. Hand colored lithograph of two birds - shore birds, possibly sand pipers. Minor browning to edges. Light foxing. Size: 11.25 x 9 inches. Print/082020. Very Good. More

Albany: Carroll and Cook, 1844. Hand colored lithograph of two birds - Curlews. Minor browning to edges. Light foxing. Size: 11.25 x 9 inches. Print/092820. Very Good. More

Albany: Carroll and Cook, 1844. Hand colored lithograph of two birds. Minor browning to edges. Light foxing. Size: 11 x 8.5 inches. Print/081220. Very Good. More

Albany: Carroll and Cook, 1844. Hand colored lithograph of two birds - sea birds. Minor browning to edges and smudge mark. Minor chipping to edges. Size: 11 x 8.5 inches. Print/081220. Very Good. More

Hammersmith: Kelmscott Press, 1892. William Morris greatly admired The Golden Legend, a medieval collection of saints' lives. It was one of the first books printed in England by William Caxton, (1422- 1491), the first English printer, who, as a translator and publisher, exerted an important influence on English literature. In his bibliography of the Kelmscott Press, William Peterson writes that The Golden Legend was intended to be the first book produced by the press, but because of its length and some problems with paper delivery, Morris was forced to issue several shorter volumes before it was completed. The book was completed in three volumes and a celebratory dinner was held in October 1892 (Bibliography pages 19-24). It was printed in Golden type on Flower paper. These 16 leaves display the fine printing and handsome Morris-designed ornamental initials. The leaves comprise pages 529-536, 539-546, and 549-562 from Volume II. The leaves are from a disbound edition, and except for a couple of inserted leaves, they are attached together by the remnants of the threads and cords used in the binding. Some of the signatures are still unopened. There are twenty-nine 6-line initials and four 10-line initials. The leaves are in very good condition with slight aging to margins and a small crease to the right top edge of a few. A nice addition to a teaching collection for the printing arts and history of the book. PRI/090122. Very Good. More

1799. This is a leaf from Histoire Naturelle de Oiseaux d'Afrique, Levaillant's most important work. This is a comprehensive description of the birds of South America based upon his own personal experiences. Many of the birds that Levaillant claimed to have inhabited Africa later were proven not to be native to the continent. Print method is Engraving and hand colored on paper, measuring 345 x 260mm. or approximately 16 x 10 1/4 inches. Archivally matted. #48222. Very Good. More

1885. Linden Lindenia Orchid, Jean Linden (1817-1898), was a famed orchid hunter, organizing many trips to hunt orchids in their native habitats all over the world, and importing over a thousand species back to Belgium. Along with Conrad Loddiges in England, they published the superb work, Iconographic des Orchidees, in two parts. This print is from the first series published from 1885-1894. The framed print measures 10 1/2 x 14 inches. #43393. Fine. More

London: James Ridgway and Sons, 1839. Original hand colored print. Includes two page (one leaf) corresponding description. Very light dampstain to margin and a few light spots of foxing, else clean and bright. Size: about 5.75 x 9.5 inches. Print/111122. Very Good. More

London: Henry G. Bohn, 1855. From the Second edition. "The Art of John Constable, like that of Hogarth, of Wilson, and of Stothard, was scarcely noticed by those among the titled and the wealthy of his countrymen who put themselves forward as the patrons of Painting; and had he not been independent of his profession for support, he could not have lived by it. But whatever may have been the loss to the artist, the world has been in some degree the gainer; for the apathy of patronage left Constable, as Hogarth had been left, to the free and unrestrained bent of his own genius, and the scenes he most loved became subjects of his pictures" (introduction). This mezzotint was engraved by David Lucas based on a picture by John Constable. Depicts Gillingham Mill, Dorsetshire. According to Constable's notes, in 1825 Archdeacon Fisher wrote to tell him that the mill was burnt to the ground and now "exists only on your canvas. A huge, misshapen, new, bright-brick, modern-improved patent monster, is starting up in its stead." Minor chipping to edges of paper and minor browning to margins. A few light smudge marks. Suitable for framing. Paper size: 11 x 17. PRINT/021121. Very Good. More

London: Henry G. Bohn, 1855. From the Second edition. "The Art of John Constable, like that of Hogarth, of Wilson, and of Stothard, was scarcely noticed by those among the titled and the wealthy of his countrymen who put themselves forward as the patrons of Painting; and had he not been independent of his profession for support, he could not have lived by it. But whatever may have been the loss to the artist, the world has been in some degree the gainer; for the apathy of patronage left Constable, as Hogarth had been left, to the free and unrestrained bent of his own genius, and the scenes he most loved became subjects of his pictures" (introduction). This mezzotint was engraved by David Lucas based on a picture by John Constable. Depicts a view from near East Bergholt. Minor chipping to edges of paper and minor browning to margins. A few small extraneous ink marks from when the plate was printed. Suitable for framing. Paper size: 11 x 17. PRINT/021121. Very Good. More

London: Henry G. Bohn, 1855. From the Second edition. "The Art of John Constable, like that of Hogarth, of Wilson, and of Stothard, was scarcely noticed by those among the titled and the wealthy of his countrymen who put themselves forward as the patrons of Painting; and had he not been independent of his profession for support, he could not have lived by it. But whatever may have been the loss to the artist, the world has been in some degree the gainer; for the apathy of patronage left Constable, as Hogarth had been left, to the free and unrestrained bent of his own genius, and the scenes he most loved became subjects of his pictures" (introduction). This mezzotint was engraved by David Lucas based on a picture by John Constable. A bucolic view from Hampstead Heath with cows grazing in the foreground. Minor chipping to edges of paper and minor browning to margins. Suitable for framing. Paper size: 11 x 17. PRINT/021121. Very Good. More