Titles starting with S from Donald Heald Rare Books

[London]: 1839. Lithograph by Shotter Boys. Printed in colours by Charles Hullmandel, deluxe edition, trimmed to the subject as issued, mounted on archival mount. 14 1/4 x 11 inches. A very fine image from Boys' 'Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c': ''a work of exceeding beauty' (Abbey) and one of the most important in the history of English colour-printing. This print represents part of what was the first serious challenge to the supremacy in England o... more information

London: Published by J.F.W. Des Barres in 'The Atlantic Neptune', 1 June, 1779. Etching with aquatint, printed in sepia with hand-colouring. 23 3/4 x 31 1/2 inches. Five very fine aquatint navigator views of Sable Island, from 'The Atlantic Neptune', the first British sea atlas of her North American colonies These fine scenes depict Sable Island from various perspectives, an island known both for its wild horses, and more ominously as the "Graveyard of the Atlantic." From 1766 to ... more information

London: 1980. Lithograph. Number 2 from an edition of 4. Signed by the artist in pencil, lower right. Very good condition apart from a mild surface abrasion in the lower right corner of the sheet. 27 x 17 1/4 inches. 29 3/4 x 22 1/4 inches. A lively early print by the progressive contemporary British artist David Ferry. A printmaker and photomontage specialist who has lectured and exhibited his works worldwide, David Ferry was born in Blackpool in 1957. After studying at the Blackpool College of Technolog... more information

London: Dec. 1st., 1804. Hand-coloured and colour-printed aquatint and stipple engraving by Burke and Lewis. Skilfull restoration to margins. 22 1/4 x 18 3/8 inches. The most strikingly beautiful flower plates ever to be printed in England. "The Sacred Egyptian Bean [Nelumbo nucifera Gaertner aka Sacred Lotus of the East Nelumbium speciosum], which no longer grows in Egypt, was first used as a religious symbol in that country, but veneration for it...afterwards spread to Buddhists and Hindus...It grow... more information

London: Harding, 1 March 18 ??? (circa 1802, see watermark). Aquatint, coloured by hand, on laid paper (watermark '1802') (Publication line at foot of plate shaved with slight loss, some expertly repaired tears to margins). 16 3/4 x 23 1/2 inches. 19 3/4 x 25 inches. An anonymous work of quality. Unusually, the present work does not include either the artist responsible for the original or the engraver who worked on the plate. The publication line is very faint: sometimes an indication of a later i... more information

London: Published at R. Dodson's, Fine Art Gallery, 147, Strand, 1 November 1887. Aquatint engraving, printed in colours and finished by hand. Printed on wove paper. In excellent condition. Image size: 8 1/4 x 13 7/8 inches. 15 3/4 x 19 5/8 inches. A fine image from the celebrated suite of racing prints entitled, 'Dodson's Racing Incidents'. All four of the prints in the series were from paintings by Thomas Walsh, a prolific artist about whom little is known. He worked mainly in watercolour... more information

London: J. Braill & Son, [circa 1890]. Aquatint, printed in colours and finished by hand. 19 5/8 x 26 3/8 inches. 23 3/8 x 29 inches. A fine copy of this excellent late example of the racing aquatint. The heyday of the racing aquatint in Britain was probably about 1830, but the present example shows that the art had not died out, even sixty years later. The print is unfortunately unsigned, but, aside from the process used, the style of painting is charming and recalls the work of John Frederick Herring... more information

London: Messrs. Fores, 10 July 1890. Photogravure, coloured by hand. 16 1/2 x 22 3/16 inches. 22 15/16 x 26 1/4 inches. A fine copy of this excellent image of the 1890 Derby winner, trained by J. Watts and ridden by J. Porter. Alfred Charles Havell was a member of the Havell family which included John James Audubon's engraver and printer: Robert Havell, Jr. Alfred Charles Havell first exhibited at the Royal Academy in 1878 and soon afterwards took up commissions with Messrs. Fores to record important r... more information

Vienna: Hof- und Staatsdruckerei, [1855-1856]. 'Nature printed' in brown ink, with titling and imprint in black, by the Vienna Hof- und Staatsdruckerei. 17 x 12 inches. 22 1/4 x 15 1/2 inches. A beautiful example from "most important work produced by nature printing ever published" (Stafleu). To the modern eye this plate has an almost photographic beauty to it, which, in aesthetic terms, foreshadows the work of the great early-20th century photographers such as Man Ray. However, this ach... more information

London: Published by W. H. Pyne, 1818. Hand-coloured aquatint, heightened with touches of gum arabic. Very good condition apart from some light soiling. 10 x 12 3/8 inches. 10 1/2 x 13 inches. A beautifully coloured print from "The History of the Royal Residences...," William Henry Pyne's comprehensive collection of plates depicting the interiors of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore. Erected in 1703, Bucking... more information

London: Published by C. G. J. and I. Robinson Paternoster Row, June 1, 1790. Sepia aquatint. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark. 10 1/8 x 13 1/8 inches. A delicate view by Rowlandson of the Marine Pavilion in Brighthelmstone from his charming book entitled "An Excursion to Brighthelmstone". Thomas Rowlandson was one of the greatest British caricaturists of his day; he excelled as a watercolourist, draughtsman and engr... more information

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. 18 1/2 x 13 3/4 inches. 26 3/4 x 39 7/8 inches (approx). In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limit... more information

Eichstatt: 1613, 1st edition. Hand-coloured engraving. Excellent condition apart from a loss to the the bottom right corner and wormhole damage in the bottom edge outside platemark. 21 1/16 x 17 3/8 inches. Basil Besler published "Hortus Eystettensis", the earliest large folio botanical, at Eichstatt near Nuremburg, in 1613. He worked on the drawings for the 374 copper engravings over a period of sixteen years using the plants in the garden of Bishop Johann Conrad von Gemmingen, his patron. De... more information

Vienna: Hof- und Staatsdruckerei, [1855-1856]. 'Nature printed' in brown ink, with titling and imprint in black, by the Vienna Hof- und Staatsdruckerei. 17 x 11 1/2 inches. 22 1/4 x 15 1/2 inches. A beautiful example from "most important work produced by nature printing ever published" (Stafleu). To the modern eye this plate has an almost photographic beauty to it, which, in aesthetic terms, foreshadows the work of the great early-20th century photographers such as Man Ray. However, this... more information

[London: Various publishers and dates, as described below]. Second item incomplete, lacking final three pages of text (pp.89-91, see note below). Two volumes. Contemporary three-quarter calf and marbled boards, gilt morocco spine labels. Label on second volume chipped, with half the label lacking. Minor wear to bindings. Titlepage of first item stained, an occasional fox mark or some soiling, but on the whole very clean. Very good. A remarkable collection of tracts relating to the American Revolution, incl... more information

[No place: circa 1880]. Tintstone lithograph with additional hand- colouring, sheet size: 18 1/8 x 33 3/4 inches. Framed in gold leaf frame with painted black panel. Firk's rare view of the city of San Francisco in 1849: "one of the best-known early San Francisco views" (Peters). Henry Firks was a painter and lithographer known primarily for his images of California during the mid-nineteenth century. His works are held by the Bancroft Library, California Society of Pioneers, and the Universi... more information

San Francisco: Printed by L. Nagel, published by A. Rosenfield, 1862. Tinted lithograph, in five sections (14¾ x 108 inches overall), linen- backed. (Varnished, possibly contemporaneously; sectional titles trimmed close, affecting imprint). Title leaf printed on blue paper and mounted to verso of first section. "Historical Sketch of California" mounted to pastedown of front board. Bound into original folio-sized blue cloth boards, gilt device of "Buswell & Co. S.F." on front ... more information

Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. 11 1/2 x 17 1/8 inches. 26 3/4 x 39 7/8 inches (approx). In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limit... more information

London: William Miller, 1 May 1809. Hand-coloured aquatint engraving by D. Havell after Henry Salt, on wove paper (watermark 'J Whatman'). 16 1/2 x 23 3/8 inches. 20 1/4 x 29 1/2 inches. View of the British colonial island St. Helena prior to its becoming Napoleon's last residence Henry Salt, artist, traveller, diplomat and collector of antiquities, was born at Lichfield, Staffordshire, England 14 June 1780. He was destined to be a portrait-painter, and on leaving school was taught drawing by ... more information

New York: Charles Scribner's Sons, 1884. Colour-printed lithograph, mounted on card. Very good condition apart from a few small brown spots in the lower left and right sides of the image. 14 3/8 x 20 5/8 inches. (of mount) 17 1/2 x 23 1/4 inches. Frederic Cozzens was one of America's greatest marine artists. Like nearly every other great marine artist, he was thoroughly acquainted with every aspect of ship construction and the art of sailing. He is best known for his paintings of great American ya... more information