havell jr robert (11 risultati)

Softcover. First Edition; First Printing. Book condition is Very Good in wraps. Text is clean and unmarked, illustrated throughout. ; Small 4to 9" - 11" tall.

Paperback. Condizione: New.

Condizione: Good. 4to. 55 pp. Soft Cover. Very Good. Light chipping on Front Cover. Color Plates.Provenance: From the estate of Gerald Nordland (1927-2019). Nordland was a museum director, art critic, educator and author.Dean of the Chouinard Art Institute (1960-64), Director of the San Francisco Museum of Art (now SFMoMA) (1966-73), Milwaukee Art Museum (1977-85), and the UCLA Wight Art Gallery (1973-1977). He is the author of over 60 publications, including books on Lachaise, Nakian, Diebenkorn and Frank Lloyd Wright.

No Binding. Condizione: VG+. This hand-colored engraving with aquatint, Plate 35 from John James Audubon's The Birds of America. Believing he had discovered a new species, Audubon named it the "Children's Warbler" (Sylvia childrenii) in honor of his. Original hand-color. Aquatint on 19th-century wove paper watermarked "JWhatman 1831". Full sheet. This hand-colored engraving with aquatint, Plate 35 from John James Audubon's The Birds of America. Believing he had discovered a new species, Audubon named it the "Children's Warbler" (Sylvia childrenii) in honor of his friend John George Children, a distinguished librarian at the British Museum and the editor of two scientific journals. The plate depicts two birds on a branch of Coffee-senna (Cassia occidentalis). Audubon s caption identifies the lower, bright yellow bird as a male and the paler bird above as a female. The original painting was completed at Oakley Plantation, Louisiana, in August 1821. The print was engraved, printed, and colored by Robert Havell in London, whose collaboration with Audubon combined precise line engraving with transparent aquatint washes. Modern ornithology identifies Audubon s "Children s Warbler" as the Yellow Warbler (Setophaga petechia, formerly Dendroica petechia), a widespread species in North America. Contemporary analysis suggests the plate actually depicts a female (below) and an immature bird (above). Audubon s difficulty identifying the Yellow Warbler is evident throughout The Birds of America; even today, the females and immatures are challenging to identify. He depicted the same species under different names in other plates: as "Rathbone's Warbler" (Plate 65) and later as "Yellow-poll Warbler" (Plate 95), an early name for the species, where he finally recognized the male. Map.

No Binding. Condizione: VG+. Audubon s image of the Purple Sandpiper is based on a painting made from specimens acquired in Boston and Labrador in 1832 33. The composition, as issued here by Havell, shows a female in winter plumage and a male in sum. Original hand-color. Aquatint on 19th-century wove paper watermarked "JWhatman 1836". Full sheet. Audubon s image of the Purple Sandpiper is based on a painting made from specimens acquired in Boston and Labrador in 1832 33. The composition, as issued here by Havell, shows a female in winter plumage and a male in summer plumage on a rocky coast, joined incongruously by a third species: the Wilson s Plover (Charadrius wilsonia) in spring plumage. The inclusion of the plover in this plate was deliberate Audubon wrote Wilson s Plover / Charadrius Wilsonius / 3. Male Spring plumage in the lower corner of the original painting to indicate its intended reuse. This is one of only two instances in The Birds of America where the same painting of a bird appears in more than one plate. The Wilson s Plover shown here is repeated, unaltered, in Plate CCIX. The other reused subject is the Bluebird, which appears in both Plates XXXVI and CXIII. The engraving is by Robert Havell Jr., dated 1835. Audubon wrote in Ornithological Biography that while in Boston, a gunner in his employ brought him several dozen specimens of the Wilson s Plover. This event took place during the winter of 1832 33, when Audubon was known to be working in Boston. Map.

No Binding. Condizione: VG. Attractive Havell edition double elephant folio image of the Black-and-white Warbler by John James Audubon, engraved and hand-colored by Robert Havell Jr. for The Birds of America. The plate shows a male warbler clinging. Original hand-color. Engraving with aquatint on 19th-century wove paper watermarked "J Whatman 1836". Minor wear to the edges. Full sheet Attractive Havell edition double elephant folio image of the Black-and-white Warbler by John James Audubon, engraved and hand-colored by Robert Havell Jr. for The Birds of America. The plate shows a male warbler clinging head-down to a tamarack branch with fresh green cones, its boldly striped plumage crisply rendered against the soft arcs of the larch needles. This is Low s second of two variants of the plate (Low, pp. 80 81). In Audubon s original watercolor, the tamarack branch halts abruptly between an upper cone and a cluster below, leaving an open space. Havell supplied the missing connection when engraving the plate, restoring continuity to the line of the composition. He also preserved a faint pencil drawing of the bird s left foot that Audubon had sketched in the lower margin. The Black-and-white Creeper, now known as the Black-and-white Warbler, is unique among American warblers in its bark-foraging behavior, creeping along limbs and trunks in search of insects. It breeds widely across the northern U.S. and Canada, particularly in boreal and mixed forests where tamarack is common. Map.

No Binding. Condizione: VG+. This Audubon Havell double elephant folio plate depicts a dramatic interaction between a mated pair of Somateria mollissima (Common Eider) and a male being driven off. The pair guards their territory, with the femal. Original hand-color, retouched. Aquatint with engraving on a double elephant folio sheet of 19th-century wove paper watermarked "J Whatman 1834". This Audubon Havell double elephant folio plate depicts a dramatic interaction between a mated pair of Somateria mollissima (Common Eider) and a male being driven off. The pair guards their territory, with the female nesting in the foreground, and her eggs visible to the right amidst the grassy habitat. The plate portrays the natural defense behavior of the species, with the female protecting her nest while the male confronts an intruder. The hand-coloring brings out the contrast between the males' striking black and white plumage with blue and green accents and the subtle brown tones of the female. Low (p. 138) states that the model painting likely stemmed from specimens Audubon collected in October 1832, when a large basketful of Common Eiders was brought to his Boston lodging by a fisherman-gunner in his employ. The collection included two young males, older males, and several females, and it was Audubon's custom to paint specimens within days of their collection. Map.

No Binding. Condizione: VG+. "[This] plate was a comedy of errors." - Susanne M. Low A handsome example of John James Audubon's double-elephant folio first edition aquatint of the Magnolia Warbler on a Swamp Chestnut Oak - though you would not know. Hand-colored engraving with aquatint on a double-elephant folio sheet of wove paper watermarked "JWhatman 1833". Minor repairs in the margins. "[This] plate was a comedy of errors." - Susanne M. Low A handsome example of John James Audubon's double-elephant folio first edition aquatint of the Magnolia Warbler on a Swamp Chestnut Oak - though you would not know for reading the legend on the plate! The Magnolia Warbler (Setophaga magnolia) is a small, colorful songbird found in North America. It is known for its distinctive black streaks on a bright yellow underside, with a white belly and undertail coverts. The male Magnolia Warbler has a black mask across its eyes and a yellow crown, while the female has a less prominent mask. These warblers are migratory birds, spending their summers in the northern United States and Canada and wintering in Central America and the Caribbean. They are often spotted in mixed woodlands and shrubby habitats during their breeding season, where they forage for insects and spiders. Here, a young male is shown perched on the branch of a Swamp Chestnut Oak (although the legend calls it a White Oak). The Swamp Chestnut Oak (Quercus michauxii) is a sizable deciduous tree native to the southeastern United States, characterized by its impressive stature, large glossy leaves, and distinctive acorns with fringed caps. Often found in wetland areas like swamps and floodplains, this oak species thrives in wetter soils, providing valuable habitat and a food source for wildlife. Its wood is prized for its durability and finds use in furniture, flooring, and cabinetry. While not endangered, the conservation of Swamp Chestnut Oak habitats is essential for preserving biodiversity and ensuring the well-being of various animal species that rely on it. Low's Commentary Painting and plate depict one immature bird in a branch of Swamp Chestnut Oak. A very faint pencil inscription on the painting may say: "Louisiana. Oct. 20, 1821." The whole situation regarding the painting and plate was a comedy of errors. Audubon wrote that he drew this immature bird, which he called Black and Yellow Warbler, for inclusion with the two Magnolias in Plate CXXIII, but Havell misunderstood and made a separate plate of it. Then Audubon wrote "Swainson's Warbler" on the painting, which was a mistake evidently made in haste. He did paint the Swainson's, which is in CXCVIII. Audubon wrote of the confusion regarding this painting and plate in Ornithological Biography. State Low's second of two plate legend variants. Map.

Hand-colored etching and aquatint, 13 ½" x 37 ½" sheet. As pointed out by Stokes (1918) the "Panoramic View of New York Taken From the North River" exists in different states; the present copy was published in the 1840s and unlike earlier editions, it shows a two-funnel steamer, as well as the dome of the Merchants' Exchange on Wall Street. The latter also suggests that Havell drew his view some time after the fire of December 16, 1835 when the first Merchants' Exchange was destroyed; the new building was only completed in 1840. Together with the additional publisher's line, this points towards the identification of the Arader print as the fifth state of the famous cityscape. As for the colorist, it is safe to recognize the hand of Henry Havell - Robert's brother - in the delicate handling of the blues. He lived in New York during the years 1844-45 and is recorded as "printcolourer" (sic) at 7 ½ Bowery. Robert Havell is best known as the formidable engraver of John James Audubon's "Birds of America". As one of the pre-eminent English engravers, his name first appears in connection with the Audubon elephant folios. In 1839 he emigrated to the United States and after an initial stay in Brooklyn, he settled in Ossining and Tarrytown where he perfected his skills in the engraving and aquatinting of city views, as well as in the depiction of landscape scenes. Havell is considered a member of the Hudson River School. Lit. Isaac Newton Phelps Stokes: "The Iconography of Manhattan Island", New York 1915-1928. #10165F.

Hand-colored etching and aquatint, 13 ½" x 37 ½" sheet. Excellent condition. In his discussion of Havell's panoramas of New York, Stokes (1918) suggests that the view from the East River is based on a later drawing than its companion piece. It furthermore seems to have been the product of at least two hands, as the vessels are different from Robert Havell's more eloquent style. They have been attributed to James Fulton Pringle who conceived them as staffage elements lacking the agency of, for instance, the "British Queen" or first transatlantic steamboat in Havell's twin composition of Manhattan. The view from the East River is nevertheless an impressive testament to urban development in the United States and the bourgeois taste in documenting socio-economic growth through high-quality prints. It is thus not surprising that Havell's iconic panorama is a rarity on the market with the Rare Book Hub database recording only two sales in over 70 years. The Metropolitan Museum of Art owns a copy from the collection of Edward W. C. Arnold. In its Spring Bulletin (1988), the museum captures the zeitgeist of the Golden Century of American Printmaking - a description that also applies to Havell's panorama: "The demand for images of buildings, civic events, and broad vistas made this an active period for printmakers of all degrees of competence." Lit. Isaac Newton Phelps Stokes: "The Iconography of Manhattan Island", New York 1915-1928. Metropolitan Museum of Art: "Spring Bulletin", New York 1988. #10165F.

Partridge shooting near Windsor.Acuatinta original en colores de mediados del Siglo XIX, dibujada y grabada por Havell, artista norteamericano (1800-1899), 21,5 x 30,5 cm. Grabados varios.