Botanical Besler, Merian etc  .


Besler, Merian..Barnard's Trees 1868 + Strutt Sylvana, Munting etc





Convolvulus non Convolvulus Angustifolius
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc delivery



Pulmonaria Maculosa Maxima
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc



Lapathum Sativum Antiquorum
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc



  Lapathum hortense.
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc



Digitalis Virginiana Angustifolia Spicata
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc



Dorycnium Dioscordis
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc


Horminum Boeticum Coronatum
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc


Geniculata
Antique Folio Copper Plate  first Published 1696 Leyden Utrecht for Naauwkeurige Beschryving Der Aardgewassen by Abraham Munting but these are from the 1702 edition , Plants are often larger than life, with decorative scrolls presenting their Latin names.  Abraham Munting, born in 1626 in Groningen, was a Dutch physician, professor, & internationally renowned botanist. He became director of the Hortus Botanicus at Groningen at the age of 32 and served in that position until his death in 1683. Not as some list the Phytographia Curiosa. which is later £165 inc







Petasites flove albo, Aconitum hyemale, Petasites, 1713 ed

from  'The Garden of Eichstatt '1613  Copperplate Engravings from Hortus Eystettensis by Basilius Besler (German, 1561 to 1629) Size  c. 48 x 40 cm   Basilius Besler (1561 - 1629) In the early 1600s, Bishop Johann Konrad von Gemmingen commissioned Basilius Besler, an apothecary, chemist, and botanist in Nuremburg, to create a comprehensive botanical garden in Eichstät devoted to flowering plants, many of which were imported from the Americas and the Ottoman Empire. With a team of draftsmen and engravers, Basler documented the garden in all four seasons. Over 1,000 varieties of flowers are depicted in the 367 engraved and colored plates made from Basler's drawings, most of them showing the flowers in their actual size.Latin descriptions were printed on the backs of the images. The work was first published in 1613 and consisted of 367 copper engravings, with an average of three plants per page, so that a total of 1084 species were depicted. The first edition printed 300 copies, which took four years to sell. Two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. The luxury version sold for an exorbitant 500 florins, while the plain, uncoloured copies went for 35 florins each. Besler could finally purchase a comfortable home in a fashionable part of Nürnberg at a price of 2 500 florins – five coloured copies' worth of ‘Hortus Eystettensis'.The actual gardens were destroyed by Swedish troops in 1634, but a modern reconstruction of the original garden opened to the public in Eichstätt in 1998.  Published Nuremburg 1613  The book was printed on large sheets measuring 57 x 46 cm. Typically, bibliographers distinguish between the two based on whether or not there is text printed on the verso of the plates. No text verso indicating the deluxe issue; text verso indicating the trade – the theory being the deluxe was meant to be coloured and text would show through the paper and detract from the image. In deluxe issues, the text (if present at all) was printed on separate sheets (both sides), and interleaved between facing plates. For trade copies, the text on the verso of one plate corresponded to the previous plate (the plates were bound verso, thus facing text recto). Simple enough, but the paper indicates the story may be more complicated. Trade copies (text verso) are found only on inferior paper with no watermark. Besler prints 20 sets of the plates on the watermarked paper, and 280 sets on unmarked paper with a further few presentation sets ie b rare.The Hortus Eystettensis is the first collection of large-folio natural history botanicals. Two other editions were issued (1640 and 1713) with the same plates; we don't know which of the three editions contained the engraving offered here, but the copper plates were melted down in 1817 by the Royal Mint in Munich. £855 inc delivery considerably less collected  image 35×28,5 cm Condition some toning some type leaching through as in all  actually lit to look worse than it is ! Full page First pic shows it outdoors in frame


   

[Alpine honeysuckle] Xylosteon alterum Dodonei; [Fly honeysuckle] Xylostium floribus albis; [Barberry] Oxyacantha

from  'The Garden of Eichstatt '1613  Copperplate Engravings from Hortus Eystettensis by Basilius Besler (German, 1561 to 1629) Size  c. 48 x 40 cm   Basilius Besler (1561 - 1629) In the early 1600s, Bishop Johann Konrad von Gemmingen commissioned Basilius Besler, an apothecary, chemist, and botanist in Nuremburg, to create a comprehensive botanical garden in Eichstät devoted to flowering plants, many of which were imported from the Americas and the Ottoman Empire. With a team of draftsmen and engravers, Basler documented the garden in all four seasons. Over 1,000 varieties of flowers are depicted in the 367 engraved and colored plates made from Basler's drawings, most of them showing the flowers in their actual size.
Latin descriptions were printed on the backs of the images. The work was first published in 1613 and consisted of 367 copper engravings, with an average of three plants per page, so that a total of 1084 species were depicted. The first edition printed 300 copies, which took four years to sell. Two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. The luxury version sold for an exorbitant 500 florins, while the plain, uncoloured copies went for 35 florins each. Besler could finally purchase a comfortable home in a fashionable part of Nürnberg at a price of 2 500 florins – five coloured copies' worth of ‘Hortus Eystettensis'.The actual gardens were destroyed by Swedish troops in 1634, but a modern reconstruction of the original garden opened to the public in Eichstätt in 1998.  Published Nuremburg 1613  The book was printed on large sheets measuring 57 x 46 cm. Typically, bibliographers distinguish between the two based on whether or not there is text printed on the verso of the plates. No text verso indicating the deluxe issue; text verso indicating the trade – the theory being the deluxe was meant to be coloured and text would show through the paper and detract from the image. In deluxe issues, the text (if present at all) was printed on separate sheets (both sides), and interleaved between facing plates. For trade copies, the text on the verso of one plate corresponded to the previous plate (the plates were bound verso, thus facing text recto). Simple enough, but the paper indicates the story may be more complicated. Trade copies (text verso) are found only on inferior paper with no watermark. Besler prints 20 sets of the plates on the watermarked paper, and 280 sets on unmarked paper with a further few presentation sets ie b rare.The Hortus Eystettensis is the first collection of large-folio natural history botanicals. Two other editions were issued (1640 and 1713) with the same plates; we don't know which of the three editions contained the engraving offered here, but the copper plates were melted down in 1817 by the Royal Mint in Munich. £325 inc delivery considerably less collected  image 35×28,5 cm This has professional repairs to the left edge including filler and  a repaired tear midway down beacause of this it is much cheaper than the standard Besler print




Arbor unita, prunella officinarum, chamepitis major

from  'The Garden of Eichstatt '1613  Copperplate Engravings from Hortus Eystettensis by Basilius Besler (German, 1561 to 1629) Size  c. 48 x 40 cm   Basilius Besler (1561 - 1629) In the early 1600s, Bishop Johann Konrad von Gemmingen commissioned Basilius Besler, an apothecary, chemist, and botanist in Nuremburg, to create a comprehensive botanical garden in Eichstät devoted to flowering plants, many of which were imported from the Americas and the Ottoman Empire. With a team of draftsmen and engravers, Basler documented the garden in all four seasons. Over 1,000 varieties of flowers are depicted in the 367 engraved and coloured plates made from Basler's drawings, most of them showing the flowers in their actual size.Latin descriptions were printed on the backs of the images. The work was first published in 1613 and consisted of 367 copper engravings, with an average of three plants per page, so that a total of 1084 species were depicted. The first edition printed 300 copies, which took four years to sell. Two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. The luxury version sold for an exorbitant 500 florins, while the plain, uncoloured copies went for 35 florins each. Besler could finally purchase a comfortable home in a fashionable part of Nürnberg at a price of 2 500 florins – five coloured copies' worth of ‘Hortus Eystettensis'.The actual gardens were destroyed by Swedish troops in 1634, but a modern reconstruction of the original garden opened to the public in Eichstätt in 1998.  Published Nuremburg 1613  The book was printed on large sheets measuring 57 x 46 cm. Typically, bibliographers distinguish between the two based on whether or not there is text printed on the verso of the plates. No text verso indicating the deluxe issue; text verso indicating the trade – the theory being the deluxe was meant to be coloured and text would show through the paper and detract from the image. In deluxe issues, the text (if present at all) was printed on separate sheets (both sides), and interleaved between facing plates. For trade copies, the text on the verso of one plate corresponded to the previous plate (the plates were bound verso, thus facing text recto). Simple enough, but the paper indicates the story may be more complicated. Trade copies (text verso) are found only on inferior paper with no watermark. Besler prints 20 sets of the plates on the watermarked paper, and 280 sets on unmarked paper with a further few presentation sets ie b rare.The Hortus Eystettensis is the first collection of large-folio natural history botanicals. Two other editions were issued (1640 and 1713) with the same plates; we don't know which of the three editions contained the engraving offered here, but the copper plates were melted down in 1817 by the Royal Mint in Munich. £525 inc delivery considerably less collected  image 35×28,5 cm Printers creases to page ie his mistake very marginal edge of page browning appr2mm on one edge full page but wonky pic First pic show the item in its frame outdoors daylight



The Birch Tree

  Antique copperplate engraving from Sylva, or a Discourse of Forest Trees by John Evelyn, published in 1786. This influential volume was originally published in 1664 John Evelyn (1620-1706) was a life-long public servant and an avid gardener. These are untinted as printed, with engravings by J Miller £15 each edge tear to image

The White Beam Tree

  Antique copperplate engraving from Sylva, or a Discourse of Forest Trees by John Evelyn, published in 1786. This influential volume was originally published in 1664 John Evelyn (1620-1706) was a life-long public servant and an avid gardener. These are untinted as printed, with engravings by J Miller £18 each

The Common Elm Tree

  Antique copperplate engraving from Sylva, or a Discourse of Forest Trees by John Evelyn, published in 1786. This influential volume was originally published in 1664 John Evelyn (1620-1706) was a life-long public servant and an avid gardener. These are untinted as printed, with engravings by J Miller £18 each

The Wild Service  Tree

  Antique copperplate engraving from Sylva, or a Discourse of Forest Trees by John Evelyn, published in 1786. This influential volume was originally published in 1664 John Evelyn (1620-1706) was a life-long public servant and an avid gardener. These are untinted as printed, with engravings by J Miller £18 each

 


Tea Tree
 Hand tinted aquatint plate from the book Interesting Selections from Animated Nature with Illustrative Scenery Designed and Engraved by William Daniell (London: T. Cadell and W. Davies, [ca. 1807-1812],  22 x 16 cm plus borders etc  This contained 120 aquatint plates tree images included on botanic pages £30 inc delivery



Fir Tree
 Hand tinted aquatint plate from the book Interesting Selections from Animated Nature with Illustrative Scenery Designed and Engraved by William Daniell (London: T. Cadell and W. Davies, [ca. 1807-1812], This contained 120 aquatint plates tree images included on botanic pages £30 inc delivery x 2



Breadfruit Tree
 Hand tinted aquatint plate from the book Interesting Selections from Animated Nature with Illustrative Scenery Designed and Engraved by William Daniell (London: T. Cadell and W. Davies, [ca. 1807-1812],  This contained 120 aquatint plates tree images included on botanic pages £30 inc delivery



Cedar Tree
 Hand tinted aquatint plate from the book Interesting Selections from Animated Nature with Illustrative Scenery Designed and Engraved by William Daniell (London: T. Cadell and W. Davies, [ca. 1807-1812],  This contained 120 aquatint plates tree images included on botanic pages £30 inc delivery



Details de la Liane femelle du Chili. Dessine par Prevost, oncle. Grave par PP. Choffard. L. Aubert scripsit. Atlas du Voyage de la Perouse, no. 9. (Paris: L'Imprimerie de la Republique, An V, dated  1797) the French government (Louis XVI)  assembled a high class group of scientists around Captain Jean-Francois de Galaup de la Perouse (1741 - 1788). La Perouse sailed with two ships, the “Astrolabe" and the “Boussole" 1785 into the Pacific to match the earlier Cook expedition. The FIRST drawing of the chili plant  Published in Paris, 1798 .£185 inc large plate page 59 x 45+ cm



 Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks.( similar to Morris Houses ),   from a set of 30 large  plates printed by M. & N. Hanhart, some light foxing and mostly marginal creasing, a few small tears, folio,  Published by Winsor & Newton,  1868. So rare can only find one copy sold but as the entire book so possibly a very small print run



The Oak,
 Holme Park Bushey No 12

Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION crease above to edge of image area another chewed margin page edge covered by mount  £75  large folio x 2



Cedars Of Lebanon,
Warwick Castle No 29

Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION crease  to base edge  and right edge out  of image area  £75  large folio


The Juniper,
Forest of Fontainbleau  No 30

Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION creases  to base edge  near title and right edge out  of image area  £75  large folio


The Birch
Forest of Fontainbleau  No 3

Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION creases  to base edge  near title and right edge out  of image area  £75  large folio



The Oak And Birch Contrasted
Dart Meet, Devonshire  No 23
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION folded corner in margin  £75  large folio


The Alder
on the Mole Surrey  No 18
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION folded corner in margin  £75  large folio


The Horse Chestnut
Wooton Church Surrey  No 16
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION folded corner in margin  £75  large folio


The Beech
  Fore walk ,Wooton , Surrey  No 7
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION crease in margin  £75  large folio


The Thorn
Kenilworth Castle  No 15
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION soiling in margin  £75  large folio


The Plane + Horse Chestnut
Guy's Cliff Wawickshire   No 11
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION crease in margin  £75  large folio


The  Elm
Oakley, Surrey  No 1
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION chewed in margin £45


The Wych Elm
Norbury park   No 19
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION chewed in margin £45


The Weeping Willow
Thames  No 24
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITIONtear almost into text at base will mend, tear left edge into image £10 ONLY if posted with another


The Lime
Interlacken Switzerland  No 21
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION edge tears  to base edge  near title and right edge out  of image area  £75  large folio


Walnut , Oberhofen Switzerland  No 17
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION edge tears inm margin/page edge out  of image area  £75  large folio

The Acacia
Schlangenbad, Nassau   No 20
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION folded corner in margin  £75  large folio

The Yew
Druid's Walk, Norbury  No 22
Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION folded corner in margin  £75  large folio




The Spruce Fir
The Wettertanne of the Alps  No 6

Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION  two copies one with water mark  right edge out  of image area  best sent first  £75  large folio



The Elm
Oakley Surrey   No 1

Drawn by GeorgeBarnard  from  Theory and Practice of Landscape Painting in Water-Colours. Illustrated by a series of Twenty-six drawings and diagrams in colours, and numerous woodcuts.:- Trees,  first edition , printed using   Leighton's Chromatic Process (frequently mistaken for chromolithography), printed entirely from woodblocks. CONDITION  soiling creases  to base edge  repaired tears  £35




Struthiola Ciliata. Fringed-leaved Struthiola.

1802. Etching with original  handcolour  image is full sheet size on 27 x 20 cm .  With accompanying text sheet giving botanical information, where the specimen was found etc. Botanical details are included along the lower edge of the plate. Plate 139 from "The Botanist's Repository, Comprising Colour'd Engravings of New and Rare Plants Only" by H.C. Andrews /Andrews, Henry C. (illus).Unmounted £40 inc delivery



The Great bale Oak at Welbeck
By Jacob George Strutt,  from Sylva Britannica Or Portraits of Forest Trees Distinguished For Their Antiquity, Magnitude, Or Beauty.  Published for the Author by Longman, Rees, Orme, Brown, and Green, London: not positive as to edition so either 1822 or 1838, 14.5 x 12.5 inches  Jacob George Strutt, painter and etcher, studied in London, and was a contributor to the Royal Academy and British Institution at intervals between 1819 and 1858. For a few years he practiced portrait-painting, but from 1824 to 1831 exhibited studies of forest scenery, and he is now best known by two sets of etchings which he published at this period `Sylva Britannica, or portraits of Forest Trees distinguished for their Antiquity' (1822; reissued, in 1838), and `Delicia Sylvarum, or grand and romantic Forest Scenery in England and Scotland' (1828). About 1831 Strutt went abroad, and, after residing for a time at Lausanne, settled in Rome. In 1851 he returned to England, but was not active after 1858. £95 tinted


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