Roses aquatint and mezzotint, printed in color, finished by hand, and heightened with gum arabic from The Temple of Flora.<ul><li>Robert John Thornton (English, 1768–1837).</li><li>Framed and glazed.</li><li>This rare and celebrated plate of The Roses is the only one by Thornton by himself.</li></ul> Robert John Thornton (1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. These botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat&nbsp;the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time.

English Hand-Colored Roses Engraving

Hand-finished copper engravings from Hortus Eystettensis, one of the earliest and most famous works in the field.<ul><li>Sold as a set of 4.</li><li>Copper engraved plates enhanced by hand with color.</li><li>Basilius Besler&nbsp;(German, 1561–1629) was a respected Nuremberg apothecary and botanist, best known for his monumental Hortus Eystettensis.</li><li>Framed and glazed.&nbsp;</li><li>Published by Nuremberg and Eichstatt.</li></ul> The Hortus Eystettensis is a pictorial record of the flowers grown in the greatest German garden of its time, that of Prince Bishop of Eichstatt, Johann Conrad von Gemmingen. The garden was begun by Joachim Camerarius in 1596 and, after his death in 1598, completed by Basilius Besler. A visitor, Philipp Hainhofer, in 1611 marveled at the eight gardens, each containing "flowers from a different country; they varied in the beds and flowers, especially in the beautiful roses, lilies, tulips." The Hortus records this variety and beauty. The book is exceptional in every sense; in its variety and range of flowers, in its size, in its fine quality of engraving. It is also one of the earliest records of flowers from a specific, documented&nbsp;garden. Besler was asked to complete the work by Gemmingen in 1606; the huge nature of the task was clear to Besler and he enlisted the help of his younger brother Hieronymus and Ludwig Jungermann, a nephew of Camerarius. Printing the Hortus may have begun as early as 1607. Drawings were made in situ and from specimens sent by the Bishop to Nuremberg; the Bishop reported to Hainhofer that he had boxes of fresh flowers sent every week to Besler at Nuremberg for sketching. A team of at least 10 engravers were employed to translate the drawings to copper plates. The gardens, along with most of the town of Eichstatt, were destroyed by the invading Swedish troops under Herzog Bernhard von Weimar in 1633–4, although they were partially restored by later bishops. Many of the original drawings survive in the University Library, Erlangen.

German Hand-Colored Peony Engravings

Hand-colored engraving by Prideaux John Selby.<ul><li>Depicting the Common Bunting, Yellow Bunting, Reed Bunting, Cirl Bunting and Tawny Bunting</li><li>Giltwood frame.</li></ul>

English Colored Bunting Engraving

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Fine%2520bindings" rel="noopener noreferrer" target="_blank">finely bound</a> and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Illustrated" rel="noopener noreferrer" target="_blank">illustrated</a> edition of Modes and Manners of the Nineteenth Century.<ul><li>Sold as a set of 3 volumes.</li><li>Oskar Fischel (English).</li><li>Max Von Boehn (German).</li><li>Translated by M. Edwardes.</li><li>Modes and Manners of the Nineteenth Century as Represented in the Pictures and Engravings of the Time.</li><li>London: J. M. Dent &amp; Co., 1909.</li><li>Each volume with 4 inlaid miniature portraits for a total of 12 portraits by Currie.</li><li>Bound in full teal morocco, ribbed gilt decorated spines, covers ruled and paneled in gilt, floral gilt decorations to front covers, white silk morie pastedowns and endpapers, top edges gilt, others uncut, each housed in their original open ended slipcases, by Riviere &amp; Son for J. H. Stonehouse, lower edge of rear cover stamped "Miniatures C. by Currie".</li></ul> The "Currie" refers to Miss C.B. Currie (Caroline Billin Curry, 1849-1940), a British book illuminator known for her miniature portraits on book covers and fore-edge paintings. She worked for the bookshop Henry Sotheran &amp; Co. and is famous for her work with the binder Riviere &amp; Son.

Modes and Manners of the Nineteenth Century as Represented in the Pictures and Engravings of the Time

A collection of engravings after <a href="https://www.sothebys.com/en/search?query=Joachim%20Sandrart&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Joachim Sandrart</a>.<ul><li>Sold as a set of 12.</li><li>Joachim Sandrart (German).</li><li>Venice: Stefano Scolari, 1650.</li><li>Copper-plate engravings.</li><li>Each is captioned in Latin with 8 lines of Latin verse below image.</li><li>Each is numbered and mounted.</li></ul>&nbsp;This decorative series, Labours of the Months refers to the Medieval cycle depicting in twelve scenes the rural activities that commonly took place in the months of the year. These scenes all depict tasks which are necessary all year round to put food on the table. They are all linked to the signs of the Zodiac and in each engraving the relevant sign appears indicating the relationship between the heavens and earth.&nbsp; The engravings are after a series was created by the artist Joachim Sandrart (1606-1688) and commissioned by Prince Elector Maximilian I of Bavaria for the old Schleissheim Palace. Painted in Amsterdam in 1641-43, the work comprises the twelve labors of the months, also includes two allegories of time (hours of the day) (today they are housed at Old Pinakothek, Munich). As a series of etchings the paintings were reproduced for the first time in 1645 by the engravers Falck, Suyderhoef, van Dalen the Younger, Haelwegh, Persijn and others (another edition dated 1651). This series of copperplates, was engraved by the Venetian engraver and publisher Stefano Scolari who worked between 1650-70. All the plates have the Latin verses by Caspar Barlaeus below the image . The texts were published in Sandrart’s Lebenslauf und Kunstwerke.

Labours of the Months Engravings

Hand-colored engraved plates by Sepp and Sepp the Younger, of birds nests with eggs from Nederlandsche Vogelen.<ul><li>Sold as a set of 4.</li><li>Nidus Ardeae, Nycticoracis; Nidus Platalea, Leucorodia; Nidus Ardeae, Stellaris; and Nidus Pelecani, Carbonis.</li><li>Framed and glazed.</li><li>Published by Jan Christian Sepp, Amsterdam.</li><li>Nozeman's work, which he couldn't finish, became the first comprehensive account of the avifauna of Holland and was the most expensive book for sale in Holland at the time.</li><li>The plates of the book depict all species known in the Netherlands through the time of publication and frequently feature eggs and nests, they were boldly colored by the publisher and still belong to the most famous ornithological representations.</li></ul>

Dutch Bird Nest Engravings

The earliest state of the Smirke Plates for Quixote.<ul><li>Robert Smirke (English).</li><li>After text by Miquel de Cervantes.</li><li>Engravings, Illustrative of Don Quixote, from pictures by Robert Smirke.</li><li>London: Cadell and Davies, 1817.</li><li>Folio album.</li><li>Two leaves (title, plus table of plates), plus 74 plates (26 vignettes and 48 illustrations) after drawings by Robert Smirke, engraved by E. Engleheart, R. Goldiing, A. Raimbach, J. Scott, C. Warren, J. Mitan, Finden, C. Armstrong, et. al.</li><li>Signed and dated in the print, mounted to folio sheets (one plate, number 11, is duplicated).&nbsp;</li><li>Proofs on India paper.</li><li>Bound in later brown half morocco and marbled boards.</li></ul> Robert Smirke was an English painter and illustrator who specialized in small paintings showing subjects taken from literature. His work was often in monochrome and was frequently adapted for engraving. He became a full member of the Royal Academy with his paintings on Don Quixote and Sancho in 1793, though the plates were issued as engravings in a four-volume quarto edition of 1818 by Cadell and Fields.Smirke also did pictures related to Shakespeare and for Bowyer's History of England. Some of his work is currently in the Guildhall Art Gallery. The 1818 edition of Don Quixote that these proofs were made for was translated by Mary Smirke, Robert's daughter.

Engravings, Illustrative of Don Quixote

A suite of eighteenth century conversation piece engravings in the rococo style, showing the nobility at leisure, dining and dancing outdoors in a bucolic setting.<ul><li>Sold as a set of 4.</li><li>Each image is set within delicately colored scrolled borders featuring flowers, foliage, leafy tendrils and fruit.</li><li>These prints capture the privilege and lifestyle of the aristocracy and are typical of French decorative art in the early to mid eighteenth century.</li><li>Each is presented in a modern gilt frame.</li></ul>

La Manna Le Matin / El Mediodia Le Midi / Eldespues de Comer L'Apres Diner / Le Soir La Tarde

Engravings depicting the metamorphoses of South American insects and the exotic plants on which they feed, from Dissertatio de Generatione et Metamorphasibus Insectorum Surinamensium.<ul><li>Sold as a set of 4.</li><li>After Maria Sybylla Merian (German, 1647-1717).</li><li>Engravings by J. Mulder, P. Sluyter and D. Stoopendaal.</li><li>The Hague: Gosse, 1719.</li><li>Hand-colored later.</li><li>Each is presented framed.</li></ul> Maria Sybilla, daughter of the German engraver and publisher Matthias Merian, devoted herself to the study of European insects and their metamorphoses. As a result of the wealth of tropical varieties being brought back by the Dutch West Indies Company, she decided to visit the Dutch colony of Surinam herself to study and paint the insect life there. She sailed with her daughter Dorothea on June 1699 from Amsterdam, and remained in Surinam until 1701. Her work, first published in 1705, "gave an unprecedented glimpse of the teeming insect life of tropical South America, with gorgeous butterflies flying around luxuriant flowering or fruiting plants and with large many-colored caterpillars crawling over the leaves. [The plates] have earned Maria Merian an honored place in the history of tropical entomology as also in botanical illustration" (W.T. Stearn, introduction to The Wondrous Transformation of Caterpillars, 1978).

Flowers, Insects and Fruits

An Italian Collecting Journey - Chapter II

Mascarade à la grecque.Parme, Benigno Bossi, 1771

Mascarade à la grecque.Parme, Benigno Bossi, 1771 Large folio engravings (500 x 334 mm), mounted under passe-partout. Housed in a modern half-vellum case. Illustration: engraved dedication, allegorical title, and nine costume plates engraved by Bossi after Petitot.

View 1 of Lot 72: Petitot, Ennemond-Alexandre (1727-1801)

petitot, ennemond-alexandre (1727-1801)

An Italian Collecting Journey - Chapter II | The Online Sale

after an engraving by Francesco Bartolozzi (1728-1815), depicting a mythological scene with Prudence endeavoring to Retain Beauty from Following the Insinuation of Love, in a carved giltwood frame

after an engraving by Francesco Bartolozzi (1728-1815), depicting a mythological scene with Prudence endeavoring to Retain Beauty from Following the Insinuation of Love, in a carved giltwood frame overall 26 x 30.5cm; 10 1/4in. x 12in. panel only 17.5 x 21.5cm; 6 7/8in. x 8 1/2in.

View 1 of Lot 242: An Italian scagliola panel after Giovanni Battista Cipriani (1727-1785), probably first half 19th century

an italian scagliola panel after giovanni battista cipriani (1727-1785), probably first half 19th century

Prints & Multiples

M. C. Escher 1898 - 1972 Other World (B. 348) signed in pencil and inscribed eigen druk wood engraving and woodcut printed in colours on heavy Japan paper image: 316 by 260 mm. 12⅜ by 10⅛ in. sheet: 405 by 326 mm. 16 by 12⅞ in. Executed in 1947.

other world (b. 348)

oval, the lid centred with an oval enamel plaque painted with Telemachus telling Mentor about his love for Antiope, after the engraving by Jean-Baptiste Tilliard (1785), within a green and white enamel entrelac-de-rubans frame, on a translucent dark blue enamel ground finely inlaid with gold paillon swags and leaves, the outer leafy green border alternating with opalescent enamel beads on an opaque white ground, the sides and base similarly decorated, maker's mark, charge and discharge of Henri Clavel, Paris date letter for 1785, the left rim numbered: 659,

oval, the lid centred with an oval enamel plaque painted with Telemachus telling Mentor about his love for Antiope, after the engraving by Jean-Baptiste Tilliard (1785), within a green and white enamel entrelac-de-rubans frame, on a translucent dark blue enamel ground finely inlaid with gold paillon swags and leaves, the outer leafy green border alternating with opalescent enamel beads on an opaque white ground, the sides and base similarly decorated, maker's mark, charge and discharge of Henri Clavel, Paris date letter for 1785, the left rim numbered: 659, In a modern leather presentation case, 8.3 cm., 3 ¼ in. wide This work is accompanied by an Export License. We suggest contacting shipping.milan@sothebys.com for additional details on procedures and timing.

View 1 of Lot 78: A gold and enamel snuff box, Joseph-Etienne Blerzy, Paris, 1785

a gold and enamel snuff box, joseph-etienne blerzy, paris, 1785

Finest & Rarest Wines Day 1 feat. The Classic Cellar Part III

Château Mouton Rothschild Pauillac, 1er Cru Classé 1982 (1 bt) u.bn, label scuffed and soiled, slightly nicked at top edge, capsule scuffed and slightly corroded 1990 (1 bt) u.bn, very slightly scuffed capsule 2000 (1 bt) Engraving on bottle slightly scuffed, back label slightly torn 2006 (1 bt) Label slightly scuffed and damp stained, slightly nicked at right edge 4 bts (sc) Provenance The great majority of the wines offered in this collection were purchased on release and ex-domaine, from the direct agents for each producer. These wines are therefore offered having previously been owned by this collector alone, in original tissues and packaging, with consecutive bottle numbers in the vast majority of cases. Stored in professional temperature-controlled storage in the UK until air-freight shipping and inspection. Proprty of a wine connoisseur. Part of a much larger colleciton. Please note that for Wine and Spirits Lots, the Buyer’s Premium rate is 24% of the Hammer Price and the Overhead Premium rate is 1% of the Hammer Price. The Buyer’s Premium and Overhead Premium are subject to any applicable VAT/GST and/or sales or use tax. Please refer to the Conditions of Business for further details.

View 1 of Lot 9126: Château Mouton Rothschild "Vertical" (4 BT)

château mouton rothschild "vertical" (4 bt)

Frank Stella 1936 - 2024 The Funeral (Dome) (A. 208) signed in pencil, dated and numbered 15/23 Etching with aquatint, engraving and relief on shaped TGL handmade, hand-coloured paper sheet: 1840 by 1370 mm. 72½ by 54 in. Executed in 1992, this impression is number 15 from the edition of 23 plus six artist's proofs, printed and published by Tyler Graphics, Ltd.

View 1 of Lot 47: The Funeral (Dome) (A. 208)

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