Havell James (44 results)

Hardcover. Condition: New condition. Dust Jacket Condition: New dust jacket. Audubon, John James; William H. Lizars; Robert Havell (illustrator). First Edition. New York: The American Museum of Natural History / Abbeville Press, 1988. A gorgeous, pristine copy in perfect condition. Brand New in a Brand New dust jacket. Bright, shiny, clean, square and tight. Sharp corners. NO owner's name or bookplate. NOT a remainder. 1988. First Edition. 7.25" wide by 10.75" tall. Subtitle: A Study of the Double-Elephant Folio of John James Audubon's Birds of America, as Engraved by William H. Lizars and Robert Havell. Illustrated with photographs of all 435 of the original plates (3 per page). This is the first in-depth study of the hand-colored prints from Audubon's double-elephant folio. A detailed description of each of the 435 plates is given including image dimensions, all known variants, watermarks, errors of misnumbering and misidentification, etc. A photograph of each plate is provided for ease of reference. Discussions of composite plates, foreign and extinct birds, engraver's technique, values, profiles of Audubon's assistants and contemporaries, current names vs. those that appear in the plate legends, several useful indices, etc. Identified are all the plants and animals in the engravings. "In short, every bit of information known about each plate." An essential tool for print dealers, librarians and collectors, auction catalogers, ornithologists, and bird lovers. Bibliography. Index of Current Names. Index of Plate Names. Index of Painting Names. Bound in the original beige cloth. From the dust jacket: "John James Audubon's double-elephant folio BIRDS OF AMERICA (1827-38) is probably the most valuable American book. It contains 435 life-size, scientifically accurate, hand-colored prints of every species of North American bird known at the time This is not only a comprehensive, cross-indexed concordance to the entire book in terms of bird names, but it also deals with variants in several plates, misnumbered plates, birds that are extinct, and mystery birds Audubon depicted that have never satisfactorily been identified In summary, this volume provides a detailed description of each of the 435 plates in the double-elephant folio as well as their original paintings, and includes image dimensions, geographical distribution of each bird pictured, and a history of the discovery of the species in addition to identification of all the plants and animals in the engravings. Each variant is listed, every error of misidentification, every misnumbering - in short, every bit of information known about each plate." Full title: "An Index and Guide to Audubon's Birds of America : A Study of the Double-Elephant Folio of John James Audubon's BIRDS OF AMERICA, as Engraved by William H. Lizars and Robert Havell.". First Edition. Hardcover. New condition/New dust jacket. Illus. by Audubon, John James; William H. Lizars; Robert Havell. 255pp. Great Packaging, Fast Shipping.

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

No Binding. Condition: Fine. 1st Edition. Original Engravings, Two Printed On One Sheet, A Proof. Light Foxing In Margins. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. The Havell Family Of Reading, Berkshire, England, Included A Number Of Notable Engravers, Etchers And Painters, As Well As Writers, Publishers, Educators, And Musicians. In Particular, Members Of This Family Were Among The Foremost Practitioners Of Aquatint; And Had A Long Association With Indian Art And Culture. William Havell (1782-1857).: Landscape Painter In Watercolours And Oils; Frequently Exhibited At The Royal Academy; Travelled And Painted In China, India, Ceylon (Now Sri Lanka), And Italy. Frederick James Havell (1810-1890): Steel Engraver In Line And Mezzotint And Made Experiments In Photography.

Loose Leaf. Condition: New. Reproduction. Original title: The Limehouse Dock, Regent's Canal German: Das Limehouse Dock, Regent's Canal French: Le quai de Limehouse, le canal de Regent Spanish: El Muelle de Limehouse, Canal de Regente High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (1827). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condition: New. Reproduction. Original title: Coaching: The Blenheim, Leaving the Star Hotel, Oxford German: Coaching: Das Blenheim, Verlassen des Star Hotel, Oxford French: Coaching: Le Blenheim, Quitter le Star Hotel, Oxford Spanish: Coaching: The Blenheim, Saliendo del Hotel Star, Oxford High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (1831). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condition: New. Reproduction. Original title: Lincoln from the Castle German: Lincoln aus dem Schloss French: Lincoln du Château Spanish: Lincoln desde el Castillo High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (ca. 1836). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condition: New. Reproduction. Original title: The Stone Bow, Lincoln German: Der Steinbogen, Lincoln French: La Bow de pierre, Lincoln Spanish: El arco de piedra, Lincoln High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (1836). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condition: New. Reproduction. None. No.

Loose Leaf. Condition: New. Reproduction. None. No.

Hardcover. Condition: New. Dust Jacket Condition: New. 1st Edition. The Bagh caves along with Ajanta are the most treasured illumination of ancient Indian art. From the school which these paintings represent was the source and fountain head from which of the art of Asia drew its inspiration, and no one can study their rhythmic composition their instinctive beauty of line, the majestic grace of their figures, and the boundless wealth of their decorative imagery without realizing what a far reaching influence they exerted on the art, not of Indian alone and her colonies, but of every other country to which the religion of the Buddha penetrated. The Caves of Bagh have already been made known to the world by three descriptive articles, the first by Lieutenant Dangerfield, the second by Dr. E. Impany and the third by Colonel C.E. Luard in the Indian Antiquity. The Caves of Bagh so called from the neighboring village of the name are situated among the southern slopes of the Vindhya hills in what is now the Amjhera district of the Gwalior state. The cliff side in which they are excavated rises some 150 feet above the Bagh river and is remarkable as being the only out crop of sandstone in an otherwise basaltic region. Above the sandstone, however is superimposed a deep band of claystone and it is probably to the excessive weight of this band, and to the moisture percolating from it that most of the damage in the caves is due. (jacket).

No Binding. Condition: Very Good. James Audubon (illustrator). Special Edition. Seven vintage postcards 6 X 8 ins. featuring bird species from a Audubon's famous 19th-century work, "Birds of America" series. The cards feature a linen texture and include dedicated sections for a message and stamp, as well as the description of the birds behavior in the pictures. (No writing on any of the seven cards) These were published in 1975 in Minnesota. The first picture is a vintage illustration of Ruffed Grouse (Bonasa umbellus), Plate XLI, originally created between 1827 and 1838 by naturalist John James Audubon. The illustration depicts the male birds drumming with their wings on display in a woodland floor setting. The artwork was drawn from nature by John J. Audubon and engraved, printed, and colored by Robert Havell. The upper postcard details the American Goldfinch, noting its cheerful song and winter plumage that differs from its summer yellow. The lower postcard describes the White-crowned Sparrow, highlighting its habitat in low bushes and Arctic breeding grounds. The American Goldfinch and the White-crowned Sparrow. The print on the left is titled "American Goldfinch" (Fringilla tristis) and is labeled Plate XXXIII. The print on the right is titled "White-crowned Sparrow" (Fringilla leucophrys) and is labeled Plate CXIV. These are lithographic reproductions of "Little Screech Owl" (Plate XCVII) and "Baltimore Oriole" (Plate XII) from John James Audubon's The Birds of America. The print on the left features Little Screech Owls (Strix asio) perched on a Jersey Pine (Pinus inops) branch. The print on the right depicts Baltimore Orioles (Icterus baltimore) interacting with a Tulip Tree (Liriodendron tulipifera). This is a vintage bird illustration print featuring a purple martin on a gourd nest and a red-headed woodpecker on a tree trunk by John James Audubon.

No Binding. Condition: Fine. 1st Edition. Original Engravings, Two Printed On One Sheet, A Proof. Light Foxing In Margins. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. The Havell Family Of Reading, Berkshire, England, Included A Number Of Notable Engravers, Etchers And Painters, As Well As Writers, Publishers, Educators, And Musicians. In Particular, Members Of This Family Were Among The Foremost Practitioners Of Aquatint; And Had A Long Association With Indian Art And Culture. William Havell (1782-1857).: Landscape Painter In Watercolours And Oils; Frequently Exhibited At The Royal Academy; Travelled And Painted In China, India, Ceylon (Now Sri Lanka), And Italy. Frederick James Havell (1810-1890): Steel Engraver In Line And Mezzotint And Made Experiments In Photography.

No Binding. Condition: Fine. 1st Edition. Original Engraving, A Proof, 10 3/4" X 7 1/2" Including Wide Margins. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. The Havell Family Of Reading, Berkshire, England, Included A Number Of Notable Engravers, Etchers And Painters, As Well As Writers, Publishers, Educators, And Musicians. In Particular, Members Of This Family Were Among The Foremost Practitioners Of Aquatint; And Had A Long Association With Indian Art And Culture. William Havell (1801-): Landscape Painter In Watercolours And Oils; Frequently Exhibited At The Royal Academy; Travelled And Painted In China, India, Ceylon (Now Sri Lanka), And Italy. Born 1782 Reading; Died 1857 Kensington. Frederick James Havell (1810-1890): Steel Engraver In Line And Mezzotint And Made Experiments In Photography.

Frame Size 28 x 24cm. With wide ivory card mount in gilt frame with glass with hardboard back. In very good condition. Printed area 16cm x 11cm Metropolitan Improvements: London in the Nineteenth Century. View of the Limehouse Dock leading to Regent's Canal; ships on water.

Paperback. Condition: New.

unbound. Condition: very good(+). R. Havell (illustrator). Elephant folio bird print. Color offset lithograph. Page measures 39.5" x 26.5". Beautiful print of warblers from first facsimile edition. This edition, which was published from the original plates 135 years after their creation, recreates the entire set of 435 images in their original double elephant folio format. The model for these images was an original set of Havell engravings, provided by Teyler's Museum in Haarlem, Holland. Paper bears the authenticating watermark. Audubon (1785-1851) was an American naturalist, painter and ornithologist. One of the most famous American natural history artists, Audubon did extensive field work studying birds before painting them. Please visit our gallery for more Audubon prints.

Condition: 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. Condition: 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. Condition: VG+. This hand-colored engraving, Plate 280 from John James Audubon's The Birds of America, was engraved by R. Havell and issued in 1835. Titled "Black Tern" (Sterna nigra), the plate depicts a bird in breeding plumage standi. Original hand-color. Aquatint with engraving on a sheet of 19th-century wove paper watermarked "JWhatman 1836". Full sheet. Minor toning at the edges. This hand-colored engraving, Plate 280 from John James Audubon's The Birds of America, was engraved by R. Havell and issued in 1835. Titled "Black Tern" (Sterna nigra), the plate depicts a bird in breeding plumage standing on a rock by the sea, while a second bird in winter plumage dives down from on high. The clouds in the engraved plate are notably well-defined. The origin of the painting for this plate is uncertain. In his Ornithological Biography, Audubon wrote that while he had not seen any Black Terns on his Labrador journey, he had observed them in other locations. However, he made no mention of when he created the painting for this plate or of collecting the specific specimens depicted. The modern scientific name for the species is Chlidonias niger. Despite the undocumented origins of the source painting, the final plate skillfully illustrates the two distinct seasonal plumages of the Black Tern. Map.

No Binding. Condition: 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. Condition: VG+. A superb impression of the Wood Pewee (Muscicapa virens, now Contopus virens), engraved, printed, and hand-colored by Robert Havell for the double elephant folio edition of The Birds of America. The plate shows a male pe. Original hand-color. Aquatint on 19th-century Whatman wove paper. Full sheet. A superb impression of the Wood Pewee (Muscicapa virens, now Contopus virens), engraved, printed, and hand-colored by Robert Havell for the double elephant folio edition of The Birds of America. The plate shows a male perched among the fragrant blooms of the Swamp Azalea (Azalea biscosa). According to Susanne Low, Audubon executed the study in 1829 while painting in New Jersey, and the final plate follows the original composition closely. The Wood Pewee is a flycatcher native to North America, easily recognized by its slender profile and plaintive, descending call. It inhabits deciduous woodlands and typically forages by sallying from high perches to catch insects midair. Audubon s composition captures the bird in a poised, slightly inverted position, lending the image to both accuracy and animation. The contrast between the dark plumage of the bird and the luminous whites and greens of the honeysuckle is characteristic of the visual drama in Audubon s best work. Map.

No Binding. Condition: 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. Condition: vg+. This Audubon Havell double elephant folio plate features two pairs of Zenaida macroura (Mourning Doves) perched on branches of a Silky Stewartia, a flowering plant known for its delicate white blossoms. The scene ca. Original hand-color. Aquatint with engraving on a double elephant folio sheet of 19th-century wove paper watermarked "JWhatman 1833". This Audubon Havell double elephant folio plate features two pairs of Zenaida macroura (Mourning Doves) perched on branches of a Silky Stewartia, a flowering plant known for its delicate white blossoms. The scene captures the doves graceful interaction, with one pair at rest and another pair tending to a nest below. The delicate hand-coloring brings to life the birds' soft brown feathers with iridescent blue highlights and the lush foliage surrounding them.The composition is rendered with remarkable attention to both the birds and the botanical elements, showcasing Audubon s keen eye for natural detail. The model for this aquatint was likely painted in Louisiana around 1825. This work is part of Audubon's The Birds of America, a celebrated collection published between 1827 and 1838, known for its life-size depictions of North American birds. The plate was engraved and colored by Robert Havell, Jr., whose craftsmanship greatly contributed to the success of Audubon's iconic work. Map.

No Binding. Condition: 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. Condition: vg. This Havell double elephant folio plate from John James Audubon s The Birds of America features two Sharp-shinned Hawks (Accipiter striatus), a male at the top and a female below. The male, originally painted in 1820, is. Original hand-color. Aquatint with engraving on a partial double elephant folio sheet of 19th-century wove paper watermarked "J Whatman 1838". Margins somewhat trimmed from full sheet size but still wide from platemark on all sides. This Havell double elephant folio plate from John James Audubon s The Birds of America features two Sharp-shinned Hawks (Accipiter striatus), a male at the top and a female below. The male, originally painted in 1820, is depicted holding a short-tailed shrew, while the female, painted in 1812, is seen below. Audubon later reworked these compositions, skillfully combining them into a fresh work, highlighting the artistic progression between the earlier renditions. This practice of reusing earlier paintings was typical for Audubon; in this instance, however, rather than pasting the original images, he copied them anew.The painting may have been completed in 1836 in Charleston, as Audubon continued refining his art during his time in the southern United States. This plate vividly demonstrates the increasing sophistication in Audubon s technique. Map.

No Binding. Condition: vg+. A Montage of Birds of the American West.This Havell double elephant folio plate from John James Audubon s The Birds of America depicts three bird species: Say's Phoebes (top), Scissor-tailed Flycatcher (bottom. Original hand-color. Aquatint with engraving on a double-elephant folio sheet of wove paper watermarked "JWhatman 1837". Minor toning at the edges, including in a spot at the top left of the sheet. A Montage of Birds of the American West.This Havell double elephant folio plate from John James Audubon s The Birds of America depicts three bird species: Say's Phoebes (top), Scissor-tailed Flycatcher (bottom left), and Western Kingbirds (center and bottom right), perched on the branches of a Magnolia tree. The male Kingbird, positioned centrally, is reaching toward one of two vividly illustrated Sheep Moths in the center of the composition.The models for these birds came from skins Audubon acquired in Philadelphia in October 1836, collected by Townsend and Nuttall during their explorations in the Far West. The painting itself was executed either in Charleston, South Carolina, in 1836, or possibly in London in 1837, during the production of his monumental work. Audubon's mastery in capturing the essence of the natural world, combined with Robert Havell s precise aquatinting and engraving, makes this plate a striking example of the artistry and scientific accuracy that defined The Birds of America. Map.

No Binding. Condition: VG+. First State. A handsome example of John James Audubon's double elephant folio etching of a female wild turkey (Meleagris gallopavo) with her nine young on a lush forest floor. Audubon began painting the model for this pl. Etching on a double-elephant folio sheet of wove paper watermarked "J WHATMAN / TURKEY MILL / 1827". Original hand-color, retouched. Minor strengthening of the lettering in the Audubon and Havell credits. First State. A handsome example of John James Audubon's double elephant folio etching of a female wild turkey (Meleagris gallopavo) with her nine young on a lush forest floor. Audubon began painting the model for this plate in 1820 on his way down the Mississippi. It was one of the first plates engraved for the Birds of America, appearing before Audubon shifted that task from William Home Lizars to Havell, and aquatinting became de rigueur. The scene captures the natural behaviors and interactions of the young with their mother. Notably, in this first state, the two chicks in the lower right corner are without the snail that appears as their quarry in later states of the print. Low notes that the female turkey has a "beard" on her chest, which is described as being more common on males. Map.

No Binding. Condition: 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.

No Binding. Condition: VG. This original double-elephant folio aquatint by John James Audubon presents a vivid portrayal of two Surf Scoters against the backdrop of their coastal environment. The adult male, on the left, is captured in a mome. Original hand-colored aquatint and engraving on a double-elephant folio sheet of wove paper, watermarked (JWHATMAN 1837). Laid on old linen, carefully stitched at the top and bottom. This original double-elephant folio aquatint by John James Audubon presents a vivid portrayal of two Surf Scoters against the backdrop of their coastal environment. The adult male, on the left, is captured in a moment of animation; his stance on a rock is commanding, with his dark plumage stark against the pale sky. His distinctive white eye patch and the strikingly colored bill, unique to the male of the species, are depicted with precise detail, and his open beak suggests a call into the surrounding stillness. Nearby, the female Surf Scoter embodies repose as she sits on the beach. Her brownish, mottled plumage blends more subtly with the natural tones of the sandy shore, reflecting the typical coloration of females, which provides camouflage. Her calm demeanor is offset by a gaze that conveys a sense of watchfulness. Between them, two clamshells lie on the ground, as if just discarded by the tide, symbolizing the ducks' foraging habits and the richness of the marine life that sustains them. The scene is tranquil, with the serene sea and distant cliffs painting a picture of the quiet life these birds lead, interspersed with moments of activity and interaction. Audubon's work combines scientific accuracy with an artistic eye, bringing to life the essence of the Surf Scoters in their natural habitat. Map.

Condition: Good +. London: Messrs. Fores, 1891. First Edition. Octavo (18.5cm.); publisher's yellow pictorial paper-covered boards; x,[2],308,[4](ads)pp.; frontispiece, ten leaves of plates (collated complete), pictorial advertisements on paste-ons. Ex-The Racing Library in Manchester with their contemporary markings including shelf number in red ink on upper cover, faded spine label, and rubber-stamps to two early leaves, boards bumped and scuffed at corners and spine ends, upper joint starting to crack but holding, title page and half title page excised and reinserted out of sequence but still present; overall a Good or better example in the original, advertisement-bedecked binding. Forms part of the Horseshoe Series and issued as Vol. I in Fores's Sporting Library.