Nathaniel 1813 (32 results)

Condition: New.

Condition: New. In English.

hardcover. Condition: Good. cover shows minor wear, tear, rubbing. pages lightly tanned and foxed.

HARDCOVER. Condition: Very Good. First Edition.. VERY GOOD Condition .FRONT ENDPAPER APPEARS TO BE GONE. ELSE, VERY ATTRACTIVE COPY.WELL BOUND, SOLID, BRIGHT ; Pages 279-340 INTERNATIONAL WITH & HUMOR as Expressed in CARACATYRE.some text with many old B&W drawings with some in good humor.Political, social & cultureal. .GOLD SPINE TITLES ON DARK GREEN CLOTH HARDCOVERS.Spine title box carries title & "FRANKLIN& BEECHER-CARTOONS with Review of Reviews at base od spine.ALL VERY NICE. cOVER HAS MILDLY EMBOSSED LINES AT SPINE & POINTS. (sometimes caled volume 1); 304pg pages; GREEN CLOTH COVERED HARD BOARDS. Quite nice with minor signs of wear. Illustrated by HOLMES, OLIVER WENDELL Glossy Ilust Frontis (illustrator). …

c.1853. color cropped reproduction of 24x26 original lithograph. Image 6.75x10.25 on 9.75x12.75 card stock. Near Fine. British born Fanny and husband Edmund Seymour Palmer (1809-59) had two failed attempts at the printing business before Fanny became the first female lithographer for Currier & Ives from 1849-68 producing over 200 lithographs. AME118398.…

Soft cover. Condition: Very Good. 104 pp. ; color illustrations throughout, suitable for framing ; 38 cm. Folio ; ISBN: 0896600076 ; 9780896600072 ; LCCN: 78-2205 ; "An Artabras book." ; OCLC: 3669317 ; stiff paper wrappers ; wear to wrappers, else VG. Book.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Condition: New. Print on Demand pp. 52.

Condition: New. Print on Demand pp. 52.

Condition: New. PRINT ON DEMAND pp. 52.

Condition: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good, print affixed to a backboard support.

Condition: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Condition: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Condition: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Condition: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Seltene handkolorierte Lithographie von 1852. Blatt-Maße: ca. 54,5 x 68 cm. -- leicht gebräunt am unteren Außenrand, sonst gut erhalten. || Rare original hand colored lithograph from 1852. -- slightly browned on the lower outer margin, otherwise in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Englisch Gewicht in Gramm: 50.…

Second edition (not stated; first published 1838). i-vi, 7-267, [1] pages. Hardcover: H 19.75cm x L 12.5cm. Contemporary green cloth; jagged chipping at spine heel with patches ascending along spine's upper left exposing quires; underlying quires; shallow wear to spine head; spine's gilt lettering remains fairly bright; slender wear to board edges particularly at bumped corners. Old pencil signature of past owner at top of front pastedown; foxing and soiling to leaves; rear free endpaper removed save for slender stub. One quire (pages 203-212) pulled but binding is otherwise reasonably firm. B/w plates (including frontispiece) on unpaged leaves. Early account of late 18th century and early 19th century bellicose events in Ohio, Michigan, Kentucky, and Canada by author John McDonald who personally knew the featured fighters - Nathaniel Massie, Duncan McArthur, William Wells, and Simon Kenton. Book now presented in a trimmed clear Dura-Lar (polyester film) sheet forming a dj enhancing its shelf presence.…

Condition: Good. Lithograph. 33 x 25 cm (sheet). Five sheets of musical score. Good, light foxing and staining throughout.

Condition: Good. Lithograph. 34 x 25.5 cm (sheet). Cover page only, no musical score included. Good, light foxing and staining throughout.

Condition: Good. Lithograph. cover with pp. 2-5 of sheet music for piano and voice. 34 x 25.5 cm (sheet). Very Good, toning along sheet edges.Provenance: From the collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Condition: Good. Lithograph. 34 x 25.5 cm (sheet). Very Good, sheet toned, musical score on verso.Provenance: From the collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Condition: Good. Lithograph. cover with pp. 2-6 of sheet music for piano and voice. 34 x 25.5 cm (sheet). Very Good, light foxing throughout, toning along sheet edges.Provenance: From the collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Condition: Good. Handcolored lithograph. 35.5 x 25 cm. (sheet). Very Good. Light toning in sheet margins.

Condition: Good. Handcolored lithograph. 12.6 x 8.75 inches.inches. image size. 16 x 12 inches sheet size. Time stained. Ref: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, circa 1983, no. 7078Washington atop a horse facing viewer under banner of flags, floral garlands, held by eagle. Small upright girl lower center facing viewer.Currier & Ives produced more than 100 images of George Washington. As the first president of the United States, Washington was distinguished as the father of a new nation and was respected for his wisdom, honesty and leadership during the Revolution. The pageantry of this print, with its flowing flags and mighty eagle, reflects the European tradition of imperial imagery used in grand history paintings. The idea of Washington as defender and protector of the country is represented by the presence of women and children, who greet the new president as he travels to New York City for his inauguration.…

Condition: Good. Handcolored lithograph. 38 x 25cm. sheet size. Time stained. Ref: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, circa 1983, no. 1819; RUD-024. :Similar to Conn. 1644, but with changes in composition. .Native American in native dress standing on river bank with rifle in proper left hand and looking directly at viewer.Edwin Forrest was a great American actor who worked in Philadelphia and in New York. He was often cast to play characters of African American or Native American decent and was considered to be highly convincing. E. Forrest as Metamora is a full-length theatrical portrait, commemorating Forrest's role as Metamora in the 1829 play, Metamora or The Last of the Wampanoags, by John Augustus Stone.Metamora, often referred to by his English name King Philip, was the leader of the Wampanoag tribe in the 17th century. He is best known for leading King Philip's War, a conflict between the Wampanoags and English colonists in New England. Metamora was also the subject of a popular 1829 play, "Metamora, or the the Last of the Wampanoags," which depicted him as a heroic and noble figureCurrier & Ives produced more than 100 images of George Washington. As the first president of the United States, Washington was distinguished as the father of a new nation and was respected for his wisdom, honesty and leadership during the Revolution. The pageantry of this print, with its flowing flags and mighty eagle, reflects the European tradition of imperial imagery used in grand history paintings. The idea of Washington as defender and protector of the country is represented by the presence of women and children, who greet the new president as he travels to New York City for his inauguration.From the collection of Frederick Ruffner, the founder of Gale Research, Detroit.…

Condition: Good. Lithograph image area: 54.5 x 39cm. (21.5 x 15.25 inches); overall sheet size of 60.5 x 40.55 cm (23.9 x 17.75 inches). Contemporary hand coloring; professionally matted. . . .References: Currier & Ives : A Catalogue Raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c. 1983, nos. 7320 and 7321; Conningham 1970, no. 6774 .Provenance:The Old Print Shop, NYC. .Fanny Palmer (1812-1876) was the first woman in the United States to work as a professional artist, and to make a living with her art. She produced more Currier and Ives' prints than any other artist, and she was the only female in a business that was dominated by men. Painting was not considered a suitable occupation for a woman, nor was lithography. Hers was a story common to Victorian wives who were expected to keep house and be supported by their husbands. She however pursued a career in England in printmaking and eventually in America, virtually supporting her family as her husband sank deeper into alcoholism and then supporting it in fact when he fell to his death on a hotel stairway in 1857.Woodcock hunting has a long and rich tradition in North America. The popular game bird is typically hunted with the assistance of hunting dogs like the cocker spaniels pictured in this Currier & Ives lithograph. Since the late 1800s, interest in hunting woodcocks has grown and an estimated 1.1 million woodcock are taken annually, making woodcock among the top ten species of migratory game birds harvested. …

Condition: Good. Lithograph image area: 54.5 x 39cm. (21.5 x 15.25 inches); overall sheet size of 62 x 44.1 cm (23.9 x18.75 inches).; some browning and spotting. Contemporary hand coloring; professionally matted. . . .References: Currier & Ives : A Catalogue Raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c. 1983, no. 5114 ; Conningham 1970, no. 4717 .Provenance:The Old Print Shop, NYC. .Fanny Palmer (1812-1876) was the first woman in the United States to work as a professional artist, and to make a living with her art. She produced more Currier and Ives' prints than any other artist, and she was the only female in a business that was dominated by men. Painting was not considered a suitable occupation for a woman, nor was lithography. Hers was a story common to Victorian wives who were expected to keep house and be supported by their husbands. She however pursued a career in England in printmaking and eventually in America, virtually supporting her family as her husband sank deeper into alcoholism and then supporting it in fact when he fell to his death on a hotel stairway in 1857.Partridge hunting has always been an integral part of American life, whether for sport or necessity. Specially bred field dogs have been used for centuries to flush the partridge or "grouse" out of long grasses, brush and forest. …

Illustrated by hand coloring. First Stock edition. Black with silver trim hardwood and glass frame by Goodspeed's Book Shop, Inc. 18 Beacon Street, Boston. Medium Folio Image size: approx. 8.9x14.15-inches, 14 x 19 framed. Very Good Print/Very Good frame. The faint waterstain on print bottom can be restored. "Length over all 620 ft, Depth of Hold 43 Ft, Breadth 65 Ft, Tonnage 12,500 - Horse Power 30,000. Identification by address: at No. 115 Nassau from 1877-94 and both Cunard Line Twin-screws were in the New York World's Fair 1893. The RMS Lucania was a record-breaking British ocean liner operated by the Cunard Line, launched in 1893 as one of the largest and fastest ships in the world. As a twin-screw steamer, she captured the Blue Riband for the fastest Atlantic crossing in 1893. Along with her sister ship, Campania, she dominated the Liverpool-New York route until being destroyed by fire in 1909. Currier & Ives produced two types of small folio prints 1834 to 1907: ÒrushÓ prints quickly produced to provide information about newsworthy events selling for 20 cents, and larger ÒstockÓ prints more finely produced selling for $1-3 depicting aspects of American life including important events.ÊÊCunningham 6260.…

Lithograph with hand-coloring and gum arabic on wove paper. Title printed in lower margin, "F.F. Palmer, Del." on lower left; "Currier & Ives, Litho. NY" on lower right. 21 x 29 ¾ sheet; 35 x 43 ½ framed This magnificent and superbly colored lithograph is based on a drawing by Frances F. Palmer (1812-1876), and depicts the steam paddlewheeler Princess at a landing along the Mississippi river, where men load firewood to feed the steamboat's engine. A campfire burns nearby, and a second steamers approaches from the distance. At the top left of the composition, a full moon glistens luminously in the midst of silver-lined clouds, illuminating an otherwise pitch black sky. The moonlit river, the billowing black smoke from the boat, and the intense labor of the wood loaders all contribute to the drama and tension of the scene. The stark juxtaposition of the peaceful nighttime scenery of the river with the roaring activity surrounding the steamer captures a vision of America's transition into an industrial superpower. The steamboat was quintessential to 19th-century industrial development around the Mississippi river, since its steam power allowed for the practical large-scale transport of passengers and freight both up and down-river, as well as navigation in shallow waters and upriver against strong currents. The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism. Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830's he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907. Frances F. Palmer was an England-born lithographer and draughtswoman who became one of the most impressive graphic artists of the 19th century. She learned to draw at a Leicester girls' school run by the artist Mary Linwood (1756-1845). In the 1830s, she married Edmund Seymour Palmer, with whom she started a lithography business in 1841. In 1843, she immigrated to the United States with her family, and opened a lithography company in New York. Although she gained an excellent reputation for lithography, the business lost money and closed in the 1850s. However, Currier & Ives recognized her talents and hired her in 1849. Palmer was particularly skilled at background tinting and rendering atmospheric landscapes, and soon became one of the company's core artists. She had a prodigious output, completing several hundred lithographs, more than any of the other regular artists employed by Currier & Ives. Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.…

STUNNING BIRD'S EYE VIEW OF NEW YORK WITH NUMEROUS LANDMARKS KEYED BELOW THE IMAGE Hand-colored lithograph. 27 x 37 inches sheet, 31 ½ x 42 inches framed. Legend with numbered landmarks and title printed on lower margin. This breathtaking bird's-eye view of New York is drawn from a work by the accomplished cityscape artists Charles R. Parsons and Lyman W. Atwater. It looks from northeast, with Jersey City at the very fore, Manhattan island at the center, and Brooklyn in the distance, and shows the glorious ribbon of water surrounding Manhattan island teeming with sailboats and steam vessels--a sign of the flourishing commerce that defined Postbellum New York. This composition encompasses numerous famous landmarks that remain thriving centers of New York life today, including Union Square, Madison Square, NYU, Harlem River, Astoria, Prospect Park, Redhook Point, Gowanus Bay, and the Navy Yard. Of these, the most prominently featured are Battery Park, the Hudson and the East River, and the Brooklyn Bridge, which was represented here as only a projection, since construction for the actual bridge was not completed until six years after this view's publication. The land of New York was discovered in 1524, and colonized by the Dutch in 1624, when it was named New Amsterdam and became a trading port of the Dutch West India Company. In 1664 this Dutch colony was surrendered to British forces and was renamed New York after James Duke of York (1633-1701), who had been granted the land by his brother King Charles II. Within fifteen years of this present view, New York would become one of the most important cities in the new nation. Today it is a vibrant and diverse beacon of culture, finance, and education for the world. The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism. Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830's he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907. Our goal is highly competitive prices and the best quality of pull, paper patine, and condition. Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.…