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Vivian, A. Pendarves (Arthur Pendarves), 1834-1926,Bierstadt, Albert, 1830-1902, illustrator

Published by ReInk Books (2018)

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About this Item: ReInk Books, 2018. Softcover. Condition: NEW. Reprinted from 1879 edition. Language: eng. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this reprint is from very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. This paperback book is SEWN, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of paperback binding. It can also be open wide. The pages will not fall out and will be around for a lot longer than normal paperbacks. This print on demand book is printed on high quality acid-free paper. Original Publisher: London : S. Low, Marston, Searle & Rivington 506 pages. Seller Inventory # 453717554

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Bierstadt, Albert, 1830-1902) Carr, Gerald L.

Published by Alexander Gallery, New York (1983)

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From: Stony Hill Books (Madison, WI, U.S.A.)

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About this Item: Alexander Gallery, New York, 1983. Soft cover. Condition: Very Good. Large format softcover gallery catalog of 40 paintings, illustrated in color, condition Very Good+. Seller Inventory # 13210

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Bierstadt, Albert, 1830-1902) Fischer, Diane P.

Published by Montclair Art Museum,, Montclair, N.J. (2001)

ISBN 10: 0936489626 ISBN 13: 9780936489629

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From: R.W. Smith Bookseller (New Haven, CT, U.S.A.)

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About this Item: Montclair Art Museum,, Montclair, N.J., 2001. Original Wraps. Condition: Very Good. [4] + 90 p. 85 ill. (41 color). Checklist of 54 exhibits, including 34 works by Bierstadt (28 paintings and oil sketches, 3 sketchbooks, 1 chromolithograph, and 2 stereographs). Foreword by Patterson Sims; Introduction, "The Return of History: America Rediscovers Albert Bierstadt" by Linda S. Ferber; "The Story of the 'Plainfield Bierstadts': Shifting Perspectives, Changing Times" by Diane P. Fischer; "Autumn in the Sierras: A Remote Location Revealed" by John Zielenski; "A Cherokee Artist Looks at The Landing of Columbus at San Salvador" by Kay Walkingstick; chronology; bibliography. Seller Inventory # 020703

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Bierstadt, Albert, 1830-1902) Carr, Gerald L.

Published by Alexander Gallery,, New York (1983)

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From: R.W. Smith Bookseller (New Haven, CT, U.S.A.)

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About this Item: Alexander Gallery,, New York, 1983. Original Wraps. Condition: Fine. [67] p. 26 color plates, with notes on each. Catalogue of 40 works exhibited. Seller Inventory # 019122

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Bierstadt, Albert, 1830-1902) Anderson, Nancy K. & Linda S. Ferber.

Published by Brooklyn Museum, in association with Hudson Hills Press,, [Brooklyn, N.Y.] (1990)

ISBN 10: 0872731251 ISBN 13: 9780872731257

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About this Item: Brooklyn Museum, in association with Hudson Hills Press,, [Brooklyn, N.Y.], 1990. Original Wraps. Condition: Fine. 327 p. 270 ill. (87 color). Directors' foreword by Robert T. Buck, Harry S. Parker III and J. Carter Brown; "Albert Bierstadt: the History of a Reputation" by Linda S. Ferber; chronology and essay, "Wondrously Full of Invention: The Western Landscapes of Albert Bierstadt" by Nancy K. Anderson; "Bierstadt and the Business of Printmaking" by Helena E. Wright, with checklist of nineteenth-century prints after Bierstadt's paintings; facsimile reprint of New Bedford art exhibition (1858) organized by Bierstadt; "Reminiscences of an Overlander" (1864) by Fitz Hugh Ludlow; bibliography. Seller Inventory # 012787

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Bierstadt, Albert, 1830-1902) Hendricks, Gordon.

Published by Harry N. Abrams, in association with the Amon Carter Museum of Western Art, n.d. [1974]., [New York] (1974)

ISBN 10: 081090151X ISBN 13: 9780810901513

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About this Item: Harry N. Abrams, in association with the Amon Carter Museum of Western Art, n.d. [1974]., [New York], 1974. Cloth. Condition: Very Good. Dust Jacket Condition: Fine. D.j., 360 p. 428 ill. (63 color). With chronology; checklist of paintings in public collections; bibliography, p. 353-354. Name in red pencil on front free end paper; bookseller's label inside cover. Seller Inventory # 019121

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After ALBERT BIERSTADT [1830-1902] American Painter.

Published by [Published by Thomas McLean, 1869]. 19.25 x 32.25in to mount opening. (1869)

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From: R.G. Watkins Books and Prints (Ilminster, SOMER, United Kingdom)

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About this Item: [Published by Thomas McLean, 1869]. 19.25 x 32.25in to mount opening., 1869. Chromolithograph, laid down on backing board, with old mount, a few tiny surface flaws, some very faint spotting in sky, This was the first of Bierstadt's 'Great Pictures' completed in 1863 that brought him fame and fortune. As his rival Frederic Church did, the format for a 'Great Picture' was to produce a large panoramic landscape (here 6 x 10 feet) and exhibit it to a wide public at a one picture touring exhibition, which was accompanied by explanatory brochures and promoted by reproductions. The original painting was purchased by the English railway magnate James McHenry for $25,000. Even though privately owned it was exhibited at McLean's London gallery in 1866. In 1867 Bierstadt took it with 'A Storm in the Rocky Mountains, Mt Rosalie' to Osborne House to show Queen Victoria. They were both exhibited at McLean's in 1868 when the production of this chromolithograph was under way. These prints were sold laid down to emulate paintings. The surface even recreates the cracklure of oil paintings. The announcement of this chromolithograph with its companion was first made in January 1868 but they were not issued until autumn 1869. Accounts of their production vary one suggesting twenty stones were employed and another thirty.The original painting is now in the Metropolitan Museum of Art. This print is a sumptuous reproduction of one of the finest early paintings to depict the American West. Commenting on these prints which were then being exhibited at Goupil's of New York, the 'Post' newspaper (4 Oct. 1869) wrote 'They are unquestionably the finest examples of chromolithographic art'.The mountain is named after Frederick W. Lander [1821-1862] whose surveying party to the Rocky Mountains Bierstadt joined in 1859, when the artist made the preliminary drawings for this 'Great Picture'.Reference: ANDERSON, N. & FERBER, L.S. 'Albert Bierstadt Art & Enterprise' Exhibition Catalogue. Brooklyn Museum, 1991. This chromolithograph is discussed on pp. 274-275, figure 89, and illustrated in colour, Plate 78 on p. 291. Seller Inventory # RGW19436

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After ALBERT BIERSTADT [1830-1902] American Painter.

Published by [Published by Thomas McLean, Printed by the Kell Brothers, 1869]. 18.5 x 32.25in mount opening (1869)

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From: R.G. Watkins Books and Prints (Ilminster, SOMER, United Kingdom)

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About this Item: [Published by Thomas McLean, Printed by the Kell Brothers, 1869]. 18.5 x 32.25in mount opening, 1869. Chromolithograph, laid down on backing board, with old mount, two tiny scratches in rock in top right, small indentation near initials in right bottom corner, and small associated flaws, This is another of Bierstadt's 'Great Pictures' completed by January 1866, a companion to 'Rocky Mountains, Lander's Peak'. As his rival Frederic Church did, the format for a 'Great Picture' was to produce a large panoramic landscape and exhibit it to a wide public at a one picture touring exhibition, which was accompanied by explanatory brochures and promoted by reproductions. Even though privately owned it was exhibited at McLean's London gallery in 1867. In the same year, Bierstadt took it with 'Rocky Mountains, Lander's Peak' to Osborne House to show Queen Victoria. They were both exhibited at McLean's in 1868 when the production of this chromolithograph was under way. These prints were sold laid down to emulate paintings. The surface even recreates the cracklure of oil paintings. The announcement of this chromolithograph with its companion was first made in January 1868 but they were not issued until autumn 1869. Accounts of their production vary one suggesting twenty stones were employed and another thirty.This print is a sumptuous reproduction of one of the finest early paintings to depict the American West. Commenting on these prints which were then being exhibited at Goupil's of New York, the 'Post' newspaper (4 Oct. 1869) wrote 'They are unquestionably the finest examples of chromolithographic art'.The original painting was purchased by the Englishman Thomas Kennard for $20,000. It is now in Brooklyn Museum. In 1863, Bierstadt visited Colorado, where he made studies for this picture. The mountain is named after Rosalie Osborne Ludlow who Bierstadt married in 1866. In 1869, when the picture was exhibited at the Paris salon Napoleon III awarded Bierstadt the Legion d'Honneur.Reference: ANDERSON, N. & FERBER, L.S. 'Albert Bierstadt Art & Enterprise' Exhibition Catalogue. Brooklyn Museum, 1991. This chromolithograph is discussed on pp. 274-275, figure 90, and illustrated in colour, Plate 79 on p. 292. Seller Inventory # RGW19437

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The Rocky Mountains (Lander's Peak): BIERSTADT, Albert (1830-1902)

BIERSTADT, Albert (1830-1902)

Published by Edward Bierstadt, New York (1866)

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From: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

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About this Item: Edward Bierstadt, New York, 1866. Steel engraving by James Smillie. Proof before title, signed by Bierstadt and Smillie. After the painting, completed in 1863. Fine condition. In 1859, Bierstadt joined an expedition to the West led by Colonel Frederick W. Lander. This work was painted four years later in New York as a tribute to Lander who died in 1862 after a distinguished military career. Bierstadt found it fitting to name the central summit in memory of his fallen friend. The painting was a huge success and was quickly bought by the English railroad magnate James McHenry for $25,000. Its beauty lies in Bierstadt's faithful delineation of the Shoshone Indian village encampment and carefully rendered foliage in the foreground with a middle distance featuring a reflective body of water and the exaggerated snow-capped peak in the background towering over the entire scene. It perfectly embodies the idea of Manifest Destiny and appealed to the imaginations of most Americans who had only read about our untamed frontier. The oil painting is in The Metropolitan Museum of Art, New York. Due to its huge popular success, Bierstadt immediately asked James Smillie, America's premier engraver, to produce an engraving. However, it was not until December 1866, after three laborious years in the making, that this engraving was published. Nancy Anderson and Linda S. Ferber, Albert Bierstadt Art & Enterprise , pp. 272-273, number 77, illustrated figure 80. Seller Inventory # 20722

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