Fine Books from a Distinguished Private Library

Johann Wilhelm Weinmann [Phytanthoza iconographia] Duidelyke Vertoning, Eeniger Duizend in alle vier waerelds deelen wassende Bomen, Stammen, Kruiden, Bloemen, Vrugten, en Uitwassen. Amsterdam: Zacharias Romberg, 1736-48 First Dutch edition, 4 volumes, folio (405 x 255mm.), volume 1 with mezzotint allegorical frontispiece of Ceres and mezzotint portraits of Weinmann and Bieler, all printed in blue, 1,025 ENGRAVED AND MEZZOTINT PLATES, (14 double-page, two folding) ALL PRINTED IN COLOUR AND FINISHED BY HAND by B. Seuter, J. E. Ridinger and J. J. Haid after G. D. Ehret, N. Asamin, and others (373 plates signed “S” [for Seuter] and 273 signed “H” [for Haid]). Seven (of eight) letterpress titles printed in red and black with engraved vignettes, two-page letterpress list of subscribers in volume 1, one-page letterpress publisher’s notice at back of volume 4, contemporary Dutch mottled calf, spines gilt in compartments, volume 1 without the first (of two ) title-pages, a few signs of wear to binding, spines sunned A FINE COPY of the Dutch language edition of Weinmann’s botanical master-work, noted for being the first botanical book to use colour-printed mezzotint successfully and for earning Georg Dionysius Ehret his first major commission. Better known by the Latin title Phytanthoza Iconographia, the Dutch version was issued nearly simultaneously with the Latin text, which was printed between 1737 and 1745. The plates in the Dutch work are reputed to be better than those in the Latin edition, because they were printed on higher quality paper. Weinmann (1683-1741) was an apothecary from Regensburg whose success in business funded his interest in botany. He created a botanical garden there, and the present work—a comprehensive iconography of all the flowers, fruit, and vegetables in cultivation in early 18th century Europe—is based on his collection of plants. To illustrate it, he hired the brilliant young botanical artist Georg Dionysius Ehret (1708-1770), who, in his inexperience, agreed to terms highly unfavourable to himself. Disgusted with the miserly pay, Ehret wound up leaving the project after completing 500 designs, and his pivotal contribution to the work is nowhere acknowledged in the publication. The plates made an enormous impact on other artists, botanists, and printers, inspiring, among others, Christoph Jakob Trew, who saw his Plantae Selectae as an extension of Weinmann’s work (a properly-paid Ehret did the illustrations for Trew). The text was written by Johann Georg Nicolaus Dieterichs (1681-1737) and his son Ludwig Michael Dieterichs (1716-1747). Ambrosius Karl Bieler (1693-1747) supervised the project after Weinmann’s death. Hunt tells us that “the mezzotint process used [here]… had been invented by Johann Teyler in the Netherlands around 1688. As practiced here by Bartholomaeus Seuter (1678-1754) and Johann Elias Ridinger (1698-1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects. Some of the best work was done in later volumes by Johann Jakob Haid (1704-67)”. REFERENCES: Cleveland Herbal 388; Dunthorne 327; Great Flower Books, p.151; See also: Arnold Arboretum, p. 738; Hunt 494; Nissen BBI 2126

View 1 of Lot 89: Johann Wilhelm Weinmann | [Phytanthoza iconographia, Dutch edition], Amsterdam, 1736-1748, fine engraved and mezzotint plates, printed in colours and finished by hand

johann wilhelm weinmann | [phytanthoza iconographia, dutch edition], amsterdam, 1736-1748, fine engraved and mezzotint plates, printed in colours and finished by hand

Fine Books & Manuscripts, Including Americana

Simon, John Tee Yee Neen Ho Ga Row. London: Printed for Jno Bowles and Son, N.D. [circa 1755] Mezzotint on laid paper (357 x 268 mm). Third state; light soiling, a crease, and a few short closed tears in the margins, with one closed tear just inside the image, two tiny paper repairs in the margin at upper corners. Framed. A full-length portrait depicting one of the First Nation dignitaries, known as “The Four Kings,” who travelled to London in 1710. Queen Anne commissioned the Dutch artist John Verelst to paint all four of their portraits, which were soon reproduced in mezzotint by John Simon. During Queen Anne’s War (1702-1713), British colonial forces tried to invade and conquer French Canada. After an unsuccessful campaign in 1709 that stopped short of Lake Champlain, Peter Schuyler, the mayor of Albany and a colonial official, concluded that the London Ministry must be persuaded to send enough aid for a well-equipped expedition. He hatched a bold diplomatic plan to achieve that aim, creating an embassy of four First Nation sachems who would be publicly presented to Queen Anne as “The Four Kings.” Upon arriving in London, the “Kings” caused a great sensation—pamphlets, articles, and even ballads were printed about them. Soon after, they visited Kensington Palace, met the Queen, asked her to send military assistance and missionaries to New England, and presented her with several wampum belts. Queen Anne was charmed. Her guests were treated like foreign dignitaries, given luxurious gifts, taken on a sightseeing tour of London, brought to theatrical entertainments, had an audience with William Pitt, and more. The trip was ostensibly a success, encouraging the English Crown to increase their war efforts in French Canada, as well as strengthening the alliance between the Mohawk and the English. This portrait shows Tee Yee Ho Ga Row (also known as Hendrick), a Mohawk chief and sachem of the Wolf Clan. He is shown dressed in a mixture of European and Native American clothes, holding a wampum belt, with a wolf skulking behind him. REFERENCES Chaloner Smith, p.1095, no.84 (Indian Kings); Reese, Pictured to the Life 35; Muller, "From Palace to Longhouse Portraits of the Four Indian Kings in a Transatlantic Context," American Art, Vol. 22, No. 3 (Fall 2008), p. 26-49; Garrat, The Four Indian Kings E4a

View 1 of Lot 1040: Simon, John | Mezzotint of Tee Yee Neen Ho Ga Row, one of the "Four Kings" who met Queen Anne in 1710

simon, john | mezzotint of tee yee neen ho ga row, one of the "four kings" who met queen anne in 1710

The Jay T. Snider Collection of Benjamin Franklin

Edward Fisher — Mason Chamberlin, after

Edward Fisher — Mason Chamberlin, after B. Franklin of Philadelphia L.L.D. F.R.S. [London]: Sold by M. Chamberlin in Stewart Street, Old Artillery Ground, Spittalfields, [1762] Mezzotint engraving on paper (382 x 283 mm). Trimmed close to plate marks, especially at lower margin, two or three stains. Matted, glazed, and framed (675 x 570 mm). Franklin's portrait of choice, which he gifted to family and friends. Though published in competition with a similar mezzotint by James McArdell after a portrait by Benjamin Wilson, the Fisher-Chamberlin mezzotint was "preferred by Franklin," possibly as it fell "more in line with the feeling of men of Franklin's character" (Sellers). Chamberlin and Fisher here highlight Franklin's scientific prowess; he looks toward an arrangement of bells and wires while a lightning bolt strikes outside. The date is attributed to 1762, the same year as Chamberlin's original and the year in which William Franklin wrote that he would "take 100 of them." Indeed, Franklin himself gifted the mezzotint to many of his friends. As he wrote to Thomas François Dalibard in 1769, "As I cannot soon again enjoy the Happiness of being personally in your Company, permit my Shadow to pay my Respects to you. 'Tis from a Plate my Son caus'd to be engrav'd some years since." REFERENCES Carson 1269; Sellers, Benjamin Franklin in Portraiture, p. 58–59, 220–221; cf. Smithsonian NPG.70.66 PROVENANCE Bonhams, 12 March 2019, lot 2015 (undesignated consignor)

View 1 of Lot 90: Edward Fisher — Mason Chamberlin, after | Mezzotint of Franklin's favorite portrait

edward fisher — mason chamberlin, after | mezzotint of franklin's favorite portrait

Royal & Noble Including Jewels from an Important Noble Collection 

including subjects published by Carrington Bowles & Jonathan Carver and others by John Bowles, held in ebonised reeded frames, originally from plate books, two without glass

including subjects published by Carrington Bowles & Jonathan Carver and others by John Bowles, held in ebonised reeded frames, originally from plate books, two without glass 86 Portrait: approx 44 by 32cm., 17¼ by 12½in. 4 Landscape: approx 32.5 by 43.5cm., 12¾ by 17¾in This lot will be on view in our New Bond Street galleries on 9th, 10th 11th, 12th, 15th, 16th and 17th January 2024.

View 1 of Lot 21: The Glemham Prints, a collection of ninety mezzotints, 18th century

the glemham prints, a collection of ninety mezzotints, 18th century

The John Golden Library: Book Illustration in the Age of Scientific Discovery

Weinmann, Johann Wilhelm Phytanthoza Iconographia id est accurata delineatio aliquot millium plantarum, arborum, fruticum, herbarum, florum, fructuum, fungorum tum domesticae tum exoticae originis ex omnibus terrarum partibus magnis impensis et immensa diligentia collectorum. Augsburg: [J.J. Haid], [1737]–1745 4 volumes in 8 (4 of text, 4 of plates), folio (405 x 245 mm). Text vols.: Parallel text in Latin and German, stipple engraved portraits of Weinmann and Ambrose Bieler, with an allegorical frontispiece of Ceres, all printed in blue by Haid after Hirschmann or Baumgartner, 4 engraved titles in Latin with letters heightened in gold and red; scattered dampstaining mostly to upper margins of vols. 1 & 3, affecting the portraits, frontis, and titles, loss to corner of vol. 2: G2 affecting one numeral. Plate vols.: 1024 engraved and mezzotint plates, 14 of them folding, printed in colors and finished by hand after Georg Dionysius Ehret, N. Asamin and others by J.J. Haid, J.E. Ridinger and J. Seuter, 1 page of early manuscript description of the "Aloe Africana" in French laid into plate vol. 1; offsetting and occasional light damp-staining to margins, plates 233-275 (vol. 1) and 503-525 (vol. 2) dampstained at upper, and lower portions respectively, 5 plates in vol. 1 with slight pigment loss from adhesion between pages, apparently lacking plate 451, short closed tears to margins of plates 63, 852, 931, 961, plate 892 bound upside down, plates 892 and 541 trimmed. Contemporary French mottled calf gilt, spine in compartments with morrocco lettering-pieces lettered and tooled in gilt, marbled endpapers; moderate wear, a few old repairs, minor losses to head- and tail-pieces, several joints cracked but holding firmly. The de Belder-Von Hoffman copy; Haid's reissue of this highly ambitious survey of the plant kingdom, presenting, in alphabetical order, plants ranging from algae to bulbs, flowering plants, vegetables, fruits, shrubs, and trees. Weinmann’s magnum opus was "The first botanical book to use colour-printed mezzotint successfully" (Hunt) and clearly represents a technical and artistic advance on its precursors, Martyn’s Historia plantarum rariorum (1728; see lot 31) and the Society of Gardeners' Catalogus plantarum (1730). Phytanthoza iconographia contains the first published (though unsigned) illustrations by perhaps the greatest botanical artist of the eighteenth century, Georg Dionysius Ehret. Ehret served his apprenticeship as a botanical draftsman under Weinmann, who exploited him mercilessly, supposedly offering only a meager wage and then paying him just half the promised amount. Ehret eventually withdrew from the project, which explains why he is not acknowledged anywhere in the book. Still, Ehret’s distinctive style is on display throughout the work and particularly in the various aloes and cacti that are depicted in elaborate pots and urns. When Ehret refused to continue on the work, Weinmann replaced him with N. Asamin, a talented young female artist. Extremely influential at the time of its publication, Weinmann’s work is now principally valued for the high artistic standard of its plates, but it also represents an extremely valuable record of the plant kingdom as it was understood and classified in the period just preceding the introduction of Linnaeus' revolutionary system of classification. The text is by J. G. N. Dietrichs, L. M. Dietrichs, and A. K. Bieler. As with many works published in parts and more than one issue (in addition to Jan Burmann’s Dutch translation and the preliminary Eigentliche Darstellung, 1734–1735), the make-up of preliminary leaves and indexes varies from copy to copy. REFERENCE: Cleveland Collections 388; De Belder sale 382 (this copy); cf. Dunthorne 327; cf. Great Flower Books, p. 151; cf. Hunt 494; Nissen BBI 2126; cf. Pritzel 10140; cf. Stafleu & Cowan TL2 1705 PROVENANCE: M. le Comte Francois Potocki (bookplates) — Philippe de Vilmorin (bookplates) — Robert de Belder (his sale, Sotheby's London, 28 April 1987, lot 382) — Ladislaus von Hoffman (Christie's New York, 4 June 1997, "An Important Botanical Library, The Property of a Gentleman," lot 151)

View 1 of Lot 50: Weinmann, Johann Wilhelm | The first botanical book to use color-printed mezzotint successfully, the de Belder-Von Hoffman copy

weinmann, johann wilhelm | the first botanical book to use color-printed mezzotint successfully, the de belder-von hoffman copy

Important Americana

Two mezzotints, engraved by Richard Earlom, proofs before titles, London: John Boydell, 1781; 1778. Gilt frames.  lot includes: [A Fruit Piece] — [A Flower Piece] each sheet approximately: 636 by 597 mm  25 by 23 1/2 in

a pair of proof mezzotints

Ariane Dandois: European Furniture, Paintings & Asian Art

two depicting a man and a woman dated 1760; one depicting a woman in furs dated 1761; the fourth depicting a man reading by candlelight with monogram TF; the fifth a woman with pearls dated 1761; each in a contemporary ebonized and parcel-gilt frame.

five mezzotint portraitsvariously inscribed thos. frye, pictor, invt & sculpt, hatton garden, dated 1760 and 1761

a male and female respectively; in matching contemporary black painted and parcel-gilt frames of slightly different size.

two mezzotint portraitsinscribed t. frye, pictor, invt & sculpt. hatton garden, 1760

depicting typical genre scenes, each engraved published London 1907 by Henry Graves & Co., Ltd, 6 Pall Mall SW, printed by A. Salmon, Paris, each matted and framed

a set of thirteen mezzotint prints of the 'cries of london', early 20th century

probably English, 19th century, matted, margins trimmed.  Together with a pair of Continental engravings of equestrian subjects, framed, and an 1887 etching after a painting by Jules Breton, matted.  Four pieces

a mezzotint engraving of sir joshua reynolds with the bust of homer

Old Master and British Paintings

a trompe l'oeil still life, with a mezzotint of democritus affixed to a partition with sealing wax, a letter tucked behind

English Literature, History, Children&#39;s Books and Illustrations

folio, number 49 of 100 copies numbered and signed as 'proof impressions before all letters' by Frank S. Sabin, suite of 8 proof impressions on Japan paper together with duplicate suite of 8 proof impressions on India paper, title-page (with additional engraving), contents leaf and guards, original blue cloth portfolio, some staining, occasional tears, portfolio worn

engraved in line mezzotint and stipple... first series... [no publisher, c.1860s]

namely 'A View of the Inside of a Church', 'A View of a Prison' (third issue),' A View of St Stephen's Walbroke', 'A View of the Vestibule of St Mary at Rome', 'A View of the Stairs of the Vatican', 'A View of the Temple of Bacchus at Rome', 'A View of the Vestibule of St Peter at Rome', 'A View of the Inside of a Sepulchrale Church', and 'A View of the Inside of the New Prison at Rome' (issue not known), average about 520 x 405 mm., each laid down on a mount (each about 620 x 510 mm.), with printed legends removed and laid down on versos, in a folder inscribed by princess augusta ("Blondels Prints | Given to Me by Col. Goldsworthy 1785 Octbr 29th Windsor | Augusta Sophia"), also including two architectural drawings, one signed "JW Schilling" on verso, trimmed, scuffed, minor mould damage

nine mezzotints, a complete set of blondel's architectural prints

Continental and Russian Books and Manuscripts 

a large collection of sixteenth- to nineteenth-century prints of costumes including nürnberger trachlen – sixty four hand tinted engravings, four to a mount; roman costumes by andrea orazii, 1724 – eighteen engravings, two to a mount; twenty-four dutch costumes engravings after picart, two to a mount; six anonymous cries, dutch early eighteenth-century; ladies- la prude, la mysterieuse, l'agaceante, la dissimulée, la nonchalante, la rusée by j.j. haid, augsberg, mezzotints, swiss costumes, an anonymous set of eleven aquatints, circa 1810; twelve costume lithographs by devaria, good impressions; and over a hundred and fifty more, many mounted together, various sizes (approximately 300 in all)

A Celebration of the English Country House

Small format book edtion. From The Temple of Flora, consisting: The Sacred Egyptian Bean, The Night-blooming Cereus, The Pontic Rhododendron and The Blue Egyptian Water Lily. Later matted and framed, not examined out of frames.

a set of four english hand-colored mezzotints, robert john thornton (publisher) from the temple of flora, small format book edtionlondon, circa 1812

Prints

Mezzotint, 1972, signed in pencil, dated, titled and numbered 2/10 (total edition includes 4 artist's proofs), published by Parasol Press, Ltd., New York, with the printer's blindstamp, Kathan Brown at Crown Point Press, Oakland, on Arches watercolor paper, framed

keith / mezzotint (butler institute 3)

Art of Imperial India

colonel mordaunt and nawab asaf al-daula of avadh at a cock fight, company school, patna, circa 1840, after richard earlom's mezzotint of zoffany's 'col. mordaunt's cock match'

Results for "mezzotint"