Worth Auctions



Sunday, March 19, 2017

Page 1

Realized Prices


Page 1 2 3 4 5 6 7 8 9 10 11 12

Lot 3001


Details: WHISTLER, J. A. M. (1834-1903). Billingsgate. [London]: Philip Gilbert Hamerton, 1859 [issued 1878-82]. Etching and dry point, signature in image: "Whistler. 1859", black ink on laid paper. State ix of IX. Image size (including text): 5 7/8 x 8 7/8 inches. Plate mark: 6 x 8 7/8 inches. Sheet size: 9 5/8 x 13 3/4 inches.

One of Whistler's views of London life

Billingsgate was a fish market near London Bridge, an old wharf on the Thames. Whistler captures the place and moment with a cool objectivity that includes bustling crowds, fishermen chatting, bobbing boats, the rolling river and clouds in the sky.

Kennedy 43

Condition / Notes:
Lot 3002


Details: BODMER, Karl (1809-1893). Sih-Chidä & Mahchsi-Karehde. Mandan Indians. Paris, Coblenz and London: [1839-1842]. Hand-coloured aquatint engraving by Hürlimann after Bodmer, blindstamp. Sheet size: 24 7/8 x 17 1/2 inches.

A fine full-length double portrait by Bodmer, composed from sketches made during the winter of 1833-1834 during the travelers sojourn at Fort Clark, on the banks of the upper Missouri River. On the left stands Sih-Chidä (`Yellow Feather') a young warrior who was fascinated by the work of the two foreigners. His portrait was carried out over three days in early December 1833. In it, he wears the beaded hair brows with long strings of dentalium shells and beads, a member of the Dog Society, the cluster of feathers at the back of his head may be an insignia of that group. Around his neck is draped a tippet of otter fur, the ends fringed with quill-wrapped leather. His heel-trailers are made of otter fur lined with red cloth and represent battle exploits. On the right is Mahchsi-Karehde (`Flying War Eagle'), who at just over six feet was the tallest of the Mandan. He also showed much interest in Bodmer's work, and over the winter was a frequent visitor, often bringing friends to look at Bodmer's drawings. He was a member of band of warriors that regulated the important affairs of the tribe. The wolf tail on his heels and painted eagle feather in his hair denote battle coup. His rich clothing and general demeanor all denote a proud and successful man.

Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.

Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

Condition / Notes:
Lot 3003


THORNTON, Robert John (circa 1768-1837) - Philip REINAGLE. The American Aloe. London: [May 1st., 1807]. Hand-coloured and colour-printed aquatint and line engraving by Medland. Image size (including text): 18 3/4 x 13 5/8 inches. Sheet size: 21 1/2 x 17 3/4 inches.

One of the most strikingly beautiful flower plates ever to be printed in England.

The present plate was issued as a substitute for an earlier plate titled The Aloe by Thornton "...as the plant shown is not an aloe but an agave [Agave Americana L.]. Aloes are natives of the Old World, their native home being Africa: agaves, though similar in appearance, are inhabitants of the New World. Neither is found wild in the other's territory. Thornton realized his mistake, or had it pointed out to him, [and the present plate was published]. Agaves are, however, familiar under another name as they are the well-known `Century Plants' which are supposed to live a hundred years before flowering, the whole plant dying when the flower-spike decays. In fact, they have been known to flower as early as seven years of age and seldom take longer than twenty-five years. When they flower in glasshouses in the colder countries they present a problem as the flower-spike may rise to thirty feet or more, making it necessary to take out a pane of the roof glass to let the inflorescence rise into the open air. Agave Americana.. is often used for making hedges in warmer climates and a variegated form is also much grown as a specimen plant in such countries." (Ronald King, The Temple of Flora by Robert Thornton, 1981, p.70)

Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

First and only state of this plate from the Temple of Flora.

Condition / Notes:
Lot 3004


Details: WOLF, Joseph (1820-1899). Felis Jaguarondi [Yaguaroundi ]. [London: Daniel Giraud Elliot for the subscribers, circa 1878-1883]. Hand-coloured lithograph by J.Smit after Joseph Wolf, printed by M. & N.Hanhart. Sheet size: 23 3/4 x 18 3/4".

A very fine image from 'the best animal painter who ever lived' (Sir Edwin Landseer).

The Jaguarundi [puma yaguarondi] lives mainly in Mexico, Central America and South America. They are seen very infrequently in southern Texas, New Mexico and the Sonora Desert in Arizona.

One of the most striking images from Elliot's magnificent work A Monograph of the Felidae or Family of Cats (London: 1878-1883) which described and pictured all the species of cats then known, and is still the most beautiful work on the subject. The work was prompted by a perceived need to resolve the confusion that had built up around the naming of the various species of Felidae, particularly amongst the smaller cats. Wolf worked from specimens provided by Elliot, who visited all the great museums and zoological societies on both sides of the Atlantic. This allowed Elliot to make a comparative study of skeletons and skins and reduce the number of apparently separate species by nearly a third.

Joseph Wolf served an apprenticeship with a Koblentz firm of lithographers, and spent some time working in Leiden and Darmstadt, before moving to London in 1848. The quality of his images was recognized immediately and he was rarely without work, producing natural history pictures of the highest quality for the Zoological Society of London, Henry Dresser, George Gray and John Gould, amongst many others. Wolf's work for Elliot marks the high-point of his illustrative work and his images of the cats are considered by many to be his masterpieces.

Cf. Nissen ZBI 1279; cf. Wood p.332.

Condition / Notes:
Lot 3005


Details: TREMULIS, Alex (1914-1991). Bricklin II Concept Art. 1975. Mixed media on paper. Signed, dated, and numbered "#02". Image size (including text): 10 x 22 1/2 inches. Framed. 20 3/4 x 30 3/4 inches.

Alexander Sarantos Tremulis (1914-1991) was the designer of the production version of the 1948 Tucker Torpedo and was America's most original design theorist of the post-war era. He was born in Chicago and without any training in drawing or engineering joined the design team of Auburn-Cord-Duesenberg in 1933. He was chief stylist when the company failed in 1937. He worked for GM, Chrysler and Custom Motors in Beverly Hills, which designed unique cars for movie stars. During World War II, he worked for the Air Force designing aircraft, and in the process drew what may have been the first visualizations of extra-terrestrial transport: flying saucers.

After the war, Tremulis worked with Preston Tucker, and later for Ford. He formed his own consulting firm in the 1960's. This quite beautiful design and other similar ones were made for the ill-fated Bricklin car company, which existed from 1974 to 1976, and whose demise had nothing to do with Tremulis's designs. He was inducted into the Automotive Hall of Fame in 1982.

Condition / Notes:
Lot 3006


Details: DELACROIX, Eugene (1798-1863). Juive d'Alger. Paris: Published by A. Cadart et Luquet, 79, rue de Richelieu, 1865. Etching. Printed on watermarked aqua-fortistes laid paper. State i/iii, before letters with artist's name and date engraved in the upper left corner of plate. Monogram in upper right corner of plate. Full sheet in excellent condition. Image size: 7 7/8 x 6 1/6inches. Plate mark: 8 ½ x 6 13/16 inches. Sheet size: 20 3/8 x 13 1/2 inches.

This stunning image is a rich proof impression of Delacroix's famous print, "Juive d'Alger."

In early 1832 Delacroix visited North Africa. He accompanied his friend the Count de Mornay on his good-will mission to the Sultan of Morocco, Abd-er-Rahman II. This experience had a drastic influence on his art, introducing an edge of brilliant realism into his majestic paintings and bold engravings. He filled countless sketchbooks with drawings and observations of Arab life and gathered a wealth of ideas that served him for the rest of his life. This sumptuous etching is inspired by Delacroix's travels in North Africa, and is considered one of his greatest prints. Assigned to the delegation as dragoman was Abraham-Ben-Chimol of Tangiers, a Jew who introduced Delacroix to his wife and daughter. Delacroix was greatly influenced by this encounter and he did a number of images depicting young Jewish women in simple interiors. This breathtaking image depicts a young Jewish woman in traditional dress, seated in a simple room; she is accompanied by an Algerian woman who is seated on the floor beside her.

The leader of the French Romantic movement, Delacroix is widely considered to be one of the greatest French painters in history, but he is also one the most hailed printmakers of the modern age. The simple lines and bold textures of this monumental print delineate Delacroix's genius, and distinguish him as a true master of his art. This is an exceptional early impression of this important print, executed before the published title and publication details were added. Included in one of the first collections of the Society de Aqua-Fortistes publications by Cadart, this print is extremely rare in this early state. With its rich dark tones and fresh details, this is a magnificent example of Delacroix's work and a true collectors item.

Between 1862 and 1866 the Societe des Aqua-Fortistes produced a five-volume collection of artists' etchings entitled "Euax-Fortes Modernes." Printed on laid paper made especially for the series, this outstanding collection is one of the seminal publications to spring out of the etching revival in France. The Societe des Aqua-Fortistes was the French equivalent of the Etching Club in England and similarly it aimed to produce a collection of high quality etchings by the leading artists of the period. Like the Etching Club, the Societe des Aqua-Fortistes sought to raise the prestige of the medium from a reproductive technique to a fine art. Although the etching revival began somewhat earlier in England, the French movement exerted a far greater influence on the medium, and included a wider range of prominent artists. The Barbizon painters were among the earliest French artists to participate in the etching revival, and their superb prints helped raise the medium to new heights of genius. This unique publication, which included works by Manet, Corot, and Delacroix, is an outstanding example of fine art printing at its best

Delteil, Le Peintre-Gravure Illustre, vol. III, no. 18, i/iii; Beraldi, Les Gravures du XIXe Siecle, Guide de l'Amateur d'Estampes Modernes, vol. V, p. 158, i/ii. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs; Biographical information has been taken from the website of the National Gallery in Washington, and The Metropolitan Museum in New York.
Juive D'Alger
Condition / Notes:
Lot 3007


Details: CHRISTOFFERSEN, GERDA (1917-2012)Attributed to. Indian Head. 1955. Gouache on canvasboard: 28 x 21 7/8". De-accessioned by the Glenbow Museum, Calgary.

Native American Indian portrait artist, Born in Denmark, she emigrated to Canada with her family. In her teens, as a creative young artist, she originated interpretations of the papoose. She was already an acclaimed and professional artist when she came to New Mexico as a young woman and immersed herself in the history of the Southwest Indians. She devoted subsequent years to portraying both the pathos and pride of those people.

This impressive portrait combines a straight and confident posture with a suspicious expression, as if to say I can endure anything you throw at me, but what is it going to be?

Condition / Notes:
Lot 3008


Details: SMIT, Pierre Jacques (1863-1960). Pyromelana orix & Steganura paradisea (Red Bishop & Paradise Willowbird). [?London: circa 1893-1896]. Pencil and water-colour, signed 'P.J.Smit' , early label mounted on verso, inscribed in blue pencil 'Weaver Birds Section VI. Facing page 362'. Image size (including text): 7 3/4 x 5 1/8 inches. Sheet size: 11 1/4 x 8 inches.

A beautiful original watercolour of these spectacular exotic birds, pictured by one of tyhe most important ornithological artists of his day

A fine ornithological water-colour, being original artwork for Richard Lydekker's Royal Natural History, published London 1893-96. Lydekker's work included examples from the greatest natural history artists of the period, such as Joseph Smit and his son Pierre-Jacques, prolific artists who contributed to many important zoological publications. In the 1880s and 1890s for example, both father and son produced artwork for the monumental British Museum (Natural History) Catalogue of the Birds in the Museum.

Cf. Jackson, Bird Illustrators (1975), pp. 75-84; cf. Nissen ZBI 2612.

Condition / Notes:
Lot 3009


Details: NEWCASTLE, William Cavendish, Duke of (1592-1676) and Gaspard de SAUNIER. La résne du Cauésson attaché au pommeau de la selle pour donner le plÿ au Cheval et pour trauailler les barres et la gourmette sur le trot et gallop des cerrles larges. [Pl. 19]. London: J. Brindley, 1743. Copper engraving after Abraham van Diepenbeeck. In excellent condition. Plate mark: 15 ¼ x 20 ½ inches. Sheet size: 17 1/16 x 21 ¼ inches.

A fine plate from 'A General System of Horsemanship in All Its Branches', Cavendish's extraordinary didactic work on equestrian dressage.

An affluent politician, soldier, and devoted Royalist, William Cavendish fought for Charles I during the English Civil War. He established a riding school in Antwerp with several Barbary horses obtained in Paris, and in 1657, published his revolutionary and influential work on equestrian training techniques, 'La Methode et Invention nouvelle de Dresser les Chevaux'. An English edition was published in 1743 as 'A General System Of Horsemanship In All Its Branches', with beautiful illustrations of Cavendish skillfully training and riding his horses at his Antwerp ménage and his various English estates like Bolsover Castle and Welbeck Abbey.

Cf. Brunet I.1700; cf. Mellon Books on the Horse and Horsemanship p. 49; cf. Mennessier de la Lance II, p. 250; cf. Nissen ZBI 849.

Condition / Notes:
Lot 3010


Details: CERI, Marco. Edwardian Golf. Italy: circa 1990. Oil on copper. Image size (including text): 8 x 15 3/4 inches. 22k gold leaf frame with brown crackle sides. 10 1/2 x 18 inches.

Marco Ceri lives in Northern Italy where he paints in oil on copper pictures in a very specific genre all his own. They are paintings of English people engaged at polo, golf or tennis during the Edwardian era. A great deal of research provided a high degree of accuracy to every aspect of these scenes including, of course, the attire and sports equipment, but even the postures and demeanors of the participants. The accuracy of the elements however does not intrude on the overall delight expressed in these tableaux.

The artist keeps a low profile, enjoying his virtual anonymity. He considers himself a craftsman, who by limiting his sphere of activity, brings that craft closer and closer to perfection.

Condition / Notes:
Lot 3011


Details: SAMSON & CO. (designers). An original design for porcelain. [Paris: 1845 or later]. Pen, ink, and watercolour. Good condition apart from some overall light soiling and foxing, mild creasing. Sheet size: 11 3/8 x 18 1/2 inches.

A rare example of an original watercolour design for porcelain, by the Samson factory of Paris.

This finished design was intended as a reference source from which the porcelain painters could work, using the design as a guide for the colours and image to be transformed from paper into fine porcelain.

The French porcelain manufactory of Samson & Cie. was established by "Edmé Samson (b. Paris, 1810; d. Paris, 1891) at 7, Rue Vendôme (later Rue Béranger) in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864, the factory was moved to Montreuil by Samson's son, Emile Samson (1837-1913). The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Chelsea, Meissen and Derby, Chinese export-wares, especially armorial wares decorated with famille rose colours and mugs decorated with the Fitzhugh pattern, Delftware, Iznikware, maiolica and faience." (Grove Dictionary of Art)

Condition / Notes:
Lot 3012


Details: ANONYMOUS. Erica Grandiflora, Octandra Monogynia. circa 1810. Pencil and watercolour. Painted on wove paper. Title in ink at bottom of sheet. In perfect condition. Sheet has been remargined and given an artificial platemark. Image size: 16 x 10 inches. Sheet size: 22 x 17 3/8 inches.

A stunningly executed watercolour of the "Erica Grandiflora" plant, native to the Cape province of South Africa.

From the end of the eighteenth century until the early decades of the nineteenth century, England was swept up in a horticultural craze known as "ericamania". Interest in the genus "Erica" was being stimulated by the apparently endless stream of plants being discovered and shipped back from South Africa. Nurserymen specialized in cultivating the new arrivals and at the height of 'ericamania' large numbers of different varieties were available across the whole of England. At one time there were over 228 different varieties of "ericas" under cultivation by one London grower alone.

This stunning drawing is a wonderful example of the Erica Grandiflora plant with its fetching yellow blossoms. Unfortunately we have not been able to discover any information concerning the artist of this charming botanical watercolour. It is obviously from the hand of an accomplished amateur painter who had a natural talent for composition and keen eye for detail. Amateur flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting is a beautiful botanical study and speaks to the skill of the artist. It is finely executed and delicately coloured and is a charming depiction of this rare South African flower.

Condition / Notes:
Lot 3013


Details: NAM, JACQUES LEHMANN. Seated Cat. c. 1930.
Statuesque cat portrait by Jacques Lehmann Nam

Jacques Lehmann Nam (1881-1974) was born into a family of musicians but showed an early talent for drawing, especially favoring cats. His paintings, sculptures and prints are highly regarded and much sought after.

Condition / Notes:
Lot 3014


Details: GAMY-MONTAUT. "Gabriel sur Mors" depasse pour la premiere fois une moyenne de 100 a l'heure sur route gagnant la course Paris-Madrid 1903 (600 kilom a une moyenne de 106 a l'heure). Paris: [Mabileau & Co.], 1903. Hand-coloured pochoir print. Very good condition. Image size (including text): approximately 14 1/8 x 31 1/8 inches. Sheet size: approximately 17 1/4 x 35 1/2 inches.

The pass for the lead made by Gabriel over the very recognizable "Shovel-nose". Mors, the driver behind Gabriel, had limited success in these races, this 70 horse power chain-driven car being the exception. There is some confusion as to the actual number on the car during this race, with some records indicating #6 rather than #168 as shown. This was Fernand Gabriel's only win in a career that lasted until 1923. He was killed during an RAF air raid on Paris in 1943. The 1903 Paris-Madrid race is infamous in racing history. The cars were extremely well-powered for the time, though not as well-endowed with breaking power. The speculators crowded the route for the race, and casualties resulted. Other oddities included one car whose transmission became stuck in reverse and was driven that way for 25 miles.

The Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis.

Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries.

Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut", she also used the name "Gamy", an anagram for Magy.

The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring.

Condition / Notes:
Lot 3015


Details: PROUT, Samuel (1783-1852). Tivoli, Temple of Vesta. [Italy: circa 1830]. Watercolour, pen-and-ink, and gouache, on thick paper. Signed "S. Prout" lower center. Sheet size: 18 5/8 x 12 5/8 inches.

Wonderful original watercolour by Samuel Prout of the Roman Temple of Vesta ruins at Tivoli.

This brilliantly executed watercolour depiction of the remains of the Temple of Vesta in Tivoli epitomises Prout's uncanny ability to create evocative images of architectural ruins. It was of course a popular Romantic fad to use ancient buildings to stir up melancholic reflections in the viewer; Prout however seems to have been too fond of light and detail for sad reflections. His works are often celebrations of sunlight and sculpted masonry that feel affirmative and rich.

His passion and talent for drawing were evident from an early age but he was in his thirties when he found what was for him the perfect expression for his talent: watercolour drawings of early architecture. From then on he travelled throughout Europe, capturing the Roman ruins and Gothic structures in the ancient towns and cities. He ultimately produced 14 illustrated books derived from his drawings and enjoyed great success. John Ruskin liked his work immensely and wrote a memoir about him. Prout was honored royally by George IV and Queen Victoria, for whom he was "Painter in Watercolours in Ordinary".

This view of the Temple of Vesta in Tivoli lovingly depicts the richly carved architrave and Corinthian capitals, the fluted columns and their losses, perfectly catching the shadows aa the sun begins to set. His vantage point emphasizes the curve of the temple, revealing the mountains in the distance.

A similar image is held by the Victoria Gallery & Museum in Liverpool.

Condition / Notes:
Lot 3016


Details: DE PLUVINEL, ANTOINE; CRISPIN DE PASSE. Engraving for Antoine de Pluvinel's "Le Manège Royal - L'Instruction du Roy, en L'Exercise de Monter a Cheval" Figure 31. Paris: 1623 or later 17th century. Engraving. 13 1/2 x 16 5/8 " on laid paper.

In this fine engraving, Pluvinel instructs the future Louis XIII in horsemanship

Antione de Pluvinel lived from 1555 to 1620. Of gentle birth, he was a courtier to three kings of France: Henry III, Henry IV, and Louis XIII. He studied equitation from an early age, and spent six years as a pupil of the great Giovanni Battista Pignatelli in Napoles (southern Italy). When de Pluvinel returned to France, he opened an academy for young gentlemen at the Faubourg St. Honoré, where the subjects of music, literature, painting, mathematics, and riding were taught. Monsieur de Pluvinel's reputation for honesty and his clarity of method in teaching were such that he was appointed governor to the Dauphin (the future Louis XIII).

Condition / Notes:
Lot 3017


Details: CERI, Marco. Edwardian Polo Match. Italy: circa 1990. Oil on copper. Image size (including text): 8 x 15 3/4 inches. 22k gold leaf frame with brown crackle sides. 10 1/2 x 18 inches.

Marco Ceri lives in Northern Italy where he paints in oil on copper pictures in a very specific genre all his own. They are paintings of English people engaged at polo, golf or tennis during the Edwardian era. A great deal of research provided a high degree of accuracy to every aspect of these scenes including, of course, the attire and sports equipment, but even the postures and demeanors of the participants. The accuracy of the elements however does not intrude on the overall delight expressed in these tableaux.

The artist keeps a low profile, enjoying his virtual anonymity. He considers himself a craftsman, who by limiting his sphere of activity, brings that craft closer and closer to perfection.

Condition / Notes:
Lot 3018


Details: AUDUBON, John James (1785-1851). Wild Turkey, Female and Young. From "The Birds of America" (Amsterdam Edition). [Pl. 6]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 25 1/4 x 38 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).

In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".

The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.

The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].

The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.

John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.

"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.

The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.

Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.

Condition / Notes:
Lot 3019


Details: SCOTT, after Sir Peter Markham (1909-1989). [Teal (Anas crecca)]. London: The Curwen Press for Arthur Ackermann, December 1981. Coloured offset-lithograph by the Curwen Press, signed in pencil by the artist (lower right just beneath the image) In pristine condition. Image size (including text): 13 5/8 x 20 3/4 inches. Sheet size: 19 5/8 x 25 1/8 inches.

A very fine signed print from the one of the greatest bird artists of the 20th century.

An exquisite image of a flock of teal coming in to land in the wetlands on a mid-winter's afternoon.

Sir Peter Scott was best known in later life for his work as a founding member and chairman of the World Wildlife Fund, but in "the period before and after the war, Peter Scott became undoubtedly the most popular artist in the United Kingdom" (J. Ford, Ackermann 1783-1983, 1983, p.202). The son of the Antarctic explorer Captain Robert Falcon Scott, Sir Peter initially turned to wildlife art as an extension of his early love of wildfowling. He traveled the world, hunting and painting rare birds. He held his first one-man exhibition at Ackermann's in 1933, and from the late 1930s onwards became increasingly concerned with conserving wildfowl rather than hunting them. From 1946, in tandem with a series of highly successful shows at Ackermann's, Sir Peter founded and ran the Wildfowl Trust which has gone on to become a major force in the conservation of endangered duck and geese. From 1935 up until about 1983, Ackermann's published a limited number of colour prints of Sir Peter's work. Many of the original oils are in major private and public collections, and these prints, signed by the artist himself, offer a rare chance to own an image by one of the greatest bird artists of the 20th century.

Condition / Notes:
Lot 3020


Details: CARLONI, Marco (1742-1796) after Franciszek SMUGLIEWICZ (1745-1807) and Vincenzo BRENNA (1745-1820). Detail of a fresco in the 'Domus Aureus'. [Pl. 51]. Rome: Ludovico Mirri, [1776-1778]. Original engraving with modern bodycolour. Very good condition apart from a minor brownish stain in the left margin, mild rippling, and a few small bits of excess ink in the margins. Plate mark: 22 x 23 1/2 inches. Sheet size: 24 1/2 x 28 3/4 inches.

A fine plate from 'Vestigia delle terme di Tito e loro interne pitture' of an ancient fresco from the 'Domus Aureus', Nero's sumptuous imperial complex in Rome.

Situated between the Palatine and Esquiline Hills in Rome and designed by architects Severus and Celer, the Domus Aureus (Golden House) was erected by Nero in 64 AD after the great fire in Rome. The magnitude and decadent extravagance of the impressive gold-covered, jewel bedecked palace was intended to glorify the Emperor's reign. Its rooms were filled with lavish furniture and its walls and ceilings covered with decorative late-Hellenistic murals by the renowned ancient artist Fabullus. Nero, however, died in 68 AD before the Domus was totally completed. Years later, Titus (and later Trajan) built his thermal bath over its ruins, which were used as a foundation for and were partially preserved by Titus' edifice. Successive emperors continued to erect various buildings on the site and subsequently make several renovations to the Domus substructure. In 1480, practically forgotten, the Domus was excavated, and its subterranean passages and rooms thereafter became known as 'le grotte' (cave). Many of its original frescoes survived, and their motifs and ancient style of ornamentation, called 'grotteschi' (grotesque) after 'grotte', became extremely popular during the Renaissance, influencing many prominent artists such as Raphael, Michelangelo, Ghirlandio, and Pinturicchio.

Published in the late eighteenth century, 'Vestigia delle terme di Tito e loro interne pitture' is an elaborate album of engravings depicting the stunning 'al fresco' and 'al stucco' murals of Nero's Domus Aureus. Carloni's colourful and beautifully rendered plates faithfully capture the grotesque style of the ancient frescoes, which was characterized by decorative borders filled with whimsical, often comical animals and foliage taken from both nature and the artist's imagination. The ornamental borders also served the practical functions of framing the central mythological, religious, or historical subject portrayed and separating the various murals in a single decorative scheme.

Condition / Notes:
Lot 3021


Details: SCHILE, H. Central Park New York, Preparing for A Drive. circa 1875. Hand-coloured lithograph. 17 ¾ x 24 3/8 inches, plus black-printed border, 1½ inches, extending to the sheet edges. Image size (including text): 17 3/4 x 24 1/4 inches. Sheet size: 20 1/2 x 26 7/8 inches.

This large, colorful and lively depiction of two children and their mother near one of the lakes in Central Park is typical of the prints issued by Charles Schile, a German immigrant, whose black borders are a common feature. The goat pulled children's carriage and the luxurious clothing denote an aristocratic New York family. Central Park was open to the poorer class once a week, and sometimes not even then.

Harry T. Peters, America on Stone, pp. 358-359.

Condition / Notes:
Lot 3022


Details: MUNNS, HOWARD L. (1911-2002). Original pastel portrait of a Lynx by Montana artist Howard L. Munns. 1971. Pastel on dark illustration board. 9 7/8 x 15". Signed. De-accessioned by the Glenbow Museum in Calgary, Canada.

Howard L. Munns (1911-2002) was a gifted and self-taught artist. Working as a commercial artist throughout his life, he returned always to his great passion: the natural world and the wildlife within it.

Condition / Notes:
Lot 3023


Details: CATESBY, Mark (1683-1749). Mangrove Snapper. [Pl. 9, Vol. II]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition apart from some light marginal soiling. Plate mark: 10 1/2 x 14 1/4 inches. Sheet size: 13 5/8 x 20 1/8 inches.

A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).

The mangrove snapper is an inhabitant of the coastal and offshore waters of the Western Atlantic, including the Caribbean Sea and the Gulf of Mexico. Its name derives from the sharp canine teeth protruding from its jaws.

Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.

A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of the southern American colonies. The most significant work of American natural history before Audubon's Birds of America.

Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998

Condition / Notes:
Page 1 2 3 4 5 6 7 8 9 10 11 12

© 2017 Worth Auctions.com • 2085 Dryden Road (Route 13), Freeville, NY 13068 • PO Box 6645, Ithaca, NY 14851 • 607-330-0358 • All rights reserved. For more information, contact us.