170 items found
Page 1 of 2
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Pale blonde Coco de Mer nut
£1,200Pale blonde Coco de Mer nut
sometimes known as 'Love Nuts', typically collected due to their natural resemblance to a human's buttocks.£1,200 -
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 -
Original lithographs of Cattle Breeds published 1862, ‘Vache Parthenaise’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache Parthenaise’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache D’Ayr’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache D’Ayr’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache Garonnaise’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache Garonnaise’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Bazadais’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Bazadais’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache Charolaise’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache Charolaise’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Gascon’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Gascon’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Parthenais’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Parthenais’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache Bretonne’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache Bretonne’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Garonnais’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Garonnais’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Limousin’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Limousin’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau D’Aubrac’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau D’Aubrac’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Breton’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Breton’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache D’Aubrac’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache D’Aubrac’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache Mancelle’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache Mancelle’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau de Salers’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau de Salers’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Vache D’Oberhasli’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Vache D’Oberhasli’,
Printed by Lemercier of Paris.£300 each -
Original lithographs of Cattle Breeds published 1862, ‘Taureau Landais’,
£300 eachOriginal lithographs of Cattle Breeds published 1862, ‘Taureau Landais’,
Printed by Lemercier of Paris.£300 each -
Monkeys – Full-Bottom Monkey,
£260 EachMonkeys – Full-Bottom Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Striated Monkey, Red Tailed-Monkey,
£260 EachMonkeys – Striated Monkey, Red Tailed-Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Oran Otan
£260 EachMonkeys – Oran Otan
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Great-Eared Monkey, and Fair Monkey,
£260 EachMonkeys – Great-Eared Monkey, and Fair Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Cochinchina Monkey,
£260 EachMonkeys – Cochinchina Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Oran Otan,
£260 EachMonkeys – Oran Otan,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Black Oran-Otan,
£260 EachMonkeys – Black Oran-Otan,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Dog-Faced Baboon,
£260 EachMonkeys – Dog-Faced Baboon,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Pygmy Ape, and Alpinus Ape,
£260 EachMonkeys – Pygmy Ape, and Alpinus Ape,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Hare-Lipped Monkey, and Lion-Tailed Monkey,
£260 EachMonkeys – Hare-Lipped Monkey, and Lion-Tailed Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Spotted, or Diana Monkey and Mona,
£260 EachMonkeys – Spotted, or Diana Monkey and Mona,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Horned Monkey and Four-Fingered Monkey
£260 EachMonkeys – Horned Monkey and Four-Fingered Monkey
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
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 -
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 -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 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 -
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 -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Viverra Genetta Linn'.£150 each -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Dasyprocta prymnolopha Wglr.'.£150 each -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Phalangista Petaurus'.£150 each -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Felis Yaguarondi Azar'.£150 each -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Viverra caudivolvula Pali'.£150 each -
Nineteenth century arboreal prints,
£140 eachNineteenth century arboreal prints,
European trees published in London c1880. Mounted in cream framed in pale gold. 'Hawthorn'£140 each -
Nineteenth century arboreal prints,
£140 eachNineteenth century arboreal prints,
European trees published c1880. Mounted in cream framed in pale gold. 'Mountain Ash'£140 each -
Nineteenth century arboreal prints,
£140 eachNineteenth century arboreal prints,
European trees published c1880. Mounted in cream framed in pale gold. 'Holly'.£140 each
Featured Items
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Comets by Wassily Kandinsky, Verve Vol. 1 / No. 2.
£800Comets by Wassily Kandinsky, Verve Vol. 1 / No. 2.
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 -
Head of a Girl by Paul Klee, Verve Vol 2 / No. 5-6.
£800Head of a Girl by Paul Klee, 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.£800 -
Femme au Chapeau by Henri Matisse, Verve Vol 2 / No. 5-6.
£800Femme au Chapeau by Henri Matisse, 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.£800 -
Head of a Girl by George Rouault, Verve Vol 2 / No. 5-6.
£800Head of a Girl by George Rouault, 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.£800