55 items found
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Set of Indian orthniological paintings on mica
£660 set of sixSet of Indian orthniological paintings on mica
Mica is a transparent mineral composed of complex mixtures of potassium silicates. The variety of mica used most frequently by these Indian artists is Muscovite (H2KAl3 Si04)3 which is found widely throughout south India. The mica is formed between strata of granite and the transparency of the material is a result of the heat and pressure created between the layers of rock during formation. Mica consists of many interlocking platelets, resulting in a laminar structure which can be split easily into thin sheets.£660 set of six -
George Edwards,18th century ornithological engravings
£320 eachGeorge Edwards,18th century ornithological engravings
Featuring original hand-colour. Framed in natural ash.£320 each -
George Edwards,18th century ornithological engravings
£320 eachGeorge Edwards,18th century ornithological engravings
Featuring original hand-colour. Framed in natural ash.£320 each -
Parrots by Edward Lear – Tabuan Parrakeet,
£275Parrots by Edward Lear – Tabuan Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Undulated Parrakeet,
£275Parrots by Edward Lear – Undulated Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Crimson-winged Parrakeet,
£275Parrots by Edward Lear – Crimson-winged Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Crimson-winged Parrakeet,
£275Parrots by Edward Lear – Crimson-winged Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Long-billed Parrakeet-Maccaw,
£275Parrots by Edward Lear – Long-billed Parrakeet-Maccaw,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Dwarf Parrakeet Maccaw,
£275Parrots by Edward Lear – Dwarf Parrakeet Maccaw,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Bay-headed Parrot,
£275Parrots by Edward Lear – Bay-headed Parrot,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Paleheaded Parrakeet,
£275Parrots by Edward Lear – Paleheaded Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Barnard’s Parrakeet,
£275Parrots by Edward Lear – Barnard’s Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Brown’s Parrakeet,
£275Parrots by Edward Lear – Brown’s Parrakeet,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Greater Sulphur-crested Cockatoo,
£275Parrots by Edward Lear – Greater Sulphur-crested Cockatoo,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Baudin’s Cockatoo
£275Parrots by Edward Lear – Baudin’s Cockatoo
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Patagonian Parrakeet-Maccaw
£275Parrots by Edward Lear – Patagonian Parrakeet-Maccaw
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Salmon-crested Cockatoo
£275Parrots by Edward Lear – Salmon-crested Cockatoo
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Parrots by Edward Lear – Leadbeater’s Cockatoo,
£275Parrots by Edward Lear – Leadbeater’s Cockatoo,
Edward Lear began his career as a zoological illustrator, working in the Parrot House at London Zoo. This resulted in the publication of Illustrations of the family of Psittacidae, or parrots, the greater part of them species hitherto unfigured in 1832. The first plates for the book were issued in 1830 when he was still only 18.£275 -
Early British natural history copper engravings – A Merlin, The Honey Buzzard,
£220 eachEarly British natural history copper engravings – A Merlin, The Honey Buzzard,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Jay, The Toucan, The Roller,
£220 eachEarly British natural history copper engravings – A Jay, The Toucan, The Roller,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Turtle Dove, Stock Dove, Runt, Cropper, Broad-Tail’d Shaker,
£220 eachEarly British natural history copper engravings – Turtle Dove, Stock Dove, Runt, Cropper, Broad-Tail’d Shaker,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Marsh Titmouse, A Wren, Crested Titmouse, Blue Titmouse, Indian Sparrow, Long-Tailed Titmouse,
£220 eachEarly British natural history copper engravings – Marsh Titmouse, A Wren, Crested Titmouse, Blue Titmouse, Indian Sparrow, Long-Tailed Titmouse,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Kingfisher, Hoopoe, Bee-Eater, Water Ouzel,
£220 eachEarly British natural history copper engravings – Kingfisher, Hoopoe, Bee-Eater, Water Ouzel,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Ruff, Tamatia, Coot,
£220 eachEarly British natural history copper engravings – Ruff, Tamatia, Coot,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Raven, A Crow,
£220 eachEarly British natural history copper engravings – A Raven, A Crow,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Virginian Nightingale,
£220 eachEarly British natural history copper engravings – Virginian Nightingale,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould,
£220Birds of New Guinea by John Gould,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould ,
£220Birds of New Guinea by John Gould ,
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Birds of New Guinea by John Gould
£220Birds of New Guinea by John Gould
John Gould (1804-1881) was born in Lyme Regis, Dorset, the son of John Gould, a gardener, and his wife Elizabeth Clatworthy. Gould’s training was as a taxidermist rather than an artist, and in 1828 he was appointed animal preserver at the museum of the Zoological Society of London. In 1838-1840, Gould and his family went to the then relatively unknown continent of Australia, with the purpose of collecting and studying specimens. During his time there he discovered hundreds of new bird species and subspecies. As a result of the findings the fascinating works Birds of Australia and Mammals of Australia were published. Subsequently he was considered as the father of bird study in Australia. Gould himself did not execute finished drawings for any of his works, only providing rough pencil or watercolour sketches with notes for his artists to work from. The artists he employed included his wife Elizabeth, Edward Lear, Joseph Wolf, Henry Richter and Joseph Hart.£220 -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish
£150 eachWoodcuts by Eric Fitch Dalglish
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish
£150 eachWoodcuts by Eric Fitch Dalglish
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXXII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXXV'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXVIII'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXXI'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXIX'.£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CLXXXIV'£75 -
Birds Eggs by Rev. F.O. Morris published 1879,
£75Birds Eggs by Rev. F.O. Morris published 1879,
Antique print, published by John C. Nimmo, London for "A Natural History of the Nests & Eggs of British Birds" By the Rev. F.O.Morris. Printed and hand-colour. Framed in natural oak. 'Plate CCXX'£75
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The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£800 -
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£600Portrait Fragment by Pierre Bonnard, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600 -
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The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£800 -
The Four Elements, Water by Fernand Leger, Verve Vol. 1 / No. 1.
£600The Four Elements, Water by Fernand Leger, Verve Vol. 1 / No. 1.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600