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Anon. "American Prize Fruit. No. 2." Boston: Haskell & Allen, ca. 1871-75. Large folio. Lithograph. Original hand color. Very good condition.
A stunning, large folio American fruit still-life from the popular Boston lithographic firm of Haskell & Allen. This firm was one of the more successful popular prints publishers that thrived in the mid-nineteenth century. The most famous of this sort of firm was Currier & Ives, but there were quite a number of smaller businesses that issued lovely 'prints for the masses.' This print, rare both because of its size and the small output of Haskell & Allen, is particularly desirable as representing one of the few fruit still-life images available in antique prints. Most antique fruit prints were scientific studies, in contrast to this impressive decorative image. This print was issued to grace an American Victorian home, as it would grace any home today. $1,650
Basil Besler. [Peppers.] From Hortus Eystettensis. Eicstatt, [1613]. 19 x 16. Engraving with hand coloring. Very good condition.
A superbly decorative botanical print from Basil Besler's seventeenth century herbal. Besler's monumental florilegia invites the use of superlatives when describing it. It was the most comprehensive as well as the largest early work of its kind. It is also one of the most delightfully drawn and visually impressive ever made, as is well evidenced by these wonderful engravings. $3,200
Go to listing of other prints by Besler
Emanuel Sweert. [Grapes, Rosemary, Balsam, Hibiscus.] From Florilegium. Frankfurt-am-Main: Anthony Kempner, 1612. 13 3/8 x 8. Engraving. Full hand color. Very good condition.
"One of the first and most famous . . . of the florilegiums was published in Germany in 1612 by the Dutchman Emmanuel [sic] Sweert. It has no text other than a catalogue of the 'illustrated plants' in Latin, German, French and English." [Lys de Bray: The Art of Botanical Illustration, p. 47] "The work served as both a picture-book of plants and a sale catalogue, for although no information was given as to the prices of the plants, the reader was informed that they could be purchased during the Frankfurt-am-Main Fair at the author's shop opposite the Römer, and subsequently in Amsterdam." [Blunt and Stearn: The Art of Botanical Illustration, p. 104] This is a fine example of this work (of which we have many others, though not food related, in inventory). $900
This print shows a bountiful larder rendered by Joseph Farington after the painting by Martin de Vos. $2,200
This print showing a game market is after a painting by Franz Snyders (1579-1657), an Antwerp painter who excelled in painting still lifes and hunts. $1,800
Sent to America by the French government, Michaux published the first illustrated book on American trees, which became the standard reference on the subject. His work was subsequently supplemented by the British botanist, Thomas Nuttall, who arrived in Philadelphia in 1808. Nuttall was highly influenced by the community of noted botanists in Philadelphia, which included the Bartram family and Benjamin Smith Barton. In particular, it was Barton in particular who took an interest in Nuttall as a potential collector for his own publication, intended to rival the Michaux volumes, of which he was critical. In 1810, Barton contracted the young Nuttall for an extensive expedition of the American frontier. Ironically, it would be Nuttall who would succeed in improving on the Michaux volumes by publishing his own work. Over the next thirty years, the adventurous Nuttall would travel throughout the United States from the Oregon trail to the Pacific Northwest and on to Hawaii. Through his work, he established himself as one of the most prominent botanists of the budding American scientific community.
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Deliciously detailed images of elaborate confections, savory dishes, table settings, etc. prepared for Garrett's eight volume Encyclopedia of Practical Cookery. Entries in the encyclopedia include descriptions of foodstuffs and their etymological and biological origins, recipes, methods of cooking and food preparation, cookware, utensils and their uses, and other practical definitions useful to the cook, chef, gourmet and gourmand. These wonderful chromolithgraphs were intended to illustrate the text and stimulate an interest in preparing the dishes. The marvelous excess in presentation is a trademark of late Victorian period styles and tastes, which one appreciates just as much a century later. These are mouth-watering images of remarkable feasts from the past.
Le Livre De Cuisine Drawn by Ronjat. France, ca. 1880-1890. Chromolithographs by Regamey. Ca. 5 x 7. Very good condition.
A series of bold and colorful prints of fancy dishes issued in France at the end of the nineteenth century. Similar to series above, just smaller.
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"The School of Cookery at the International Exhibition." London: The Graphic, April 26, 1873. 8 7/8 x 11 7/8. Wood engraving. Very good condition.
Many events and subjects from the nineteenth century did not warrant the production of separately issued prints nor of published photographs. However, printed images of these events and subjects are, thankfully, available to us through the medium of the illustrated newspaper. These newspapers, usually issued weekly in England and the America, were made possible by the development of woodengraving as a practical method of print making. These publications, filled with current text and a multitude of illustrations, became extremely popular from their first appearance with the Illustrated London News in 1842. This paper was followed in England by The Graphic in 1869. This source provides us with many images of all parts of the world in the nineteenth century, most of which would not exist without these papers. This is a fine example of the output of one of the two most successful papers in England. $55
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