1944 Hardcover folio, 66pp. Illustrated in full color with wonderful cartographic images. About very good with general rubbing wear to exterior, especially the joints. A nice reference copy. Oversize, may require additional shipping.

First edition, 1944, hardcover, octavo, 228pp., illustrated in b&w. Book near fine with handsome boards and tight binding, Carnegie Museum of Natural History Memorial Library plate to front pastedown, otherwise no other library indicators, text clean and unmarked with some toning throughout. DJ VG+ with rubbing, mild edgewear.

1995 Softcover, Near fine condition.

George Edwards hand colored engraving: "A species of the Heath-cock, or Grous, from Pensilvania where it is called a Pheasant"
George Edwards

1752 Hand colored engraving of a ruffed grouse by English naturalist and ornithologist George Edwards. Image area measures 9.75 x 8 inches, and is preserved in museum-quality mounting and matting, 16 x 12 inches. Print is in fine condition, without any defect to speak of. Known as the "father of British ornithology", Edwards published the first volume of his A Natural History of Uncommon Birds, in 1743, the fourth volume of which appeared in 1751, and three supplementary volumes, under the title Gleanings of Natural History, were issued in 1758, 1760 and 1764. The two works contain engravings and descriptions of more than 600 subjects in natural history not before described or delineated. Edwards was not a professional artist, but was painstaking in his representations of the stuffed birds which he used for reference. He examined and sketched them from many angles to achieve a life-like presentation. For the settings in which he placed the birds, he counseled with painters on composition and the various elements which would suit each bird. Often including insects and more than one bird in a print, Edwards didn't like "too great void spaces" in his compositions. He hand-colored at least a dozen copies of each of the etchings he published, and personally supervised the coloring of others.

George Edwards hand colored engraving: "The Blue Jay and the Summer Red Bird Print"
George Edwards

1755 Hand colored engraving of a ruffed grouse by English naturalist and ornithologist George Edwards. Image area measures 9.75 x 8 inches, and is preserved in museum-quality mounting and matting, 16 x 12 inches. Print is in fine condition, without any defect to speak of. Known as the "father of British ornithology", Edwards published the first volume of his A Natural History of Uncommon Birds, in 1743, the fourth volume of which appeared in 1751, and three supplementary volumes, under the title Gleanings of Natural History, were issued in 1758, 1760 and 1764. The two works contain engravings and descriptions of more than 600 subjects in natural history not before described or delineated. Edwards was not a professional artist, but was painstaking in his representations of the stuffed birds which he used for reference. He examined and sketched them from many angles to achieve a life-like presentation. For the settings in which he placed the birds, he counseled with painters on composition and the various elements which would suit each bird. Often including insects and more than one bird in a print, Edwards didn't like "too great void spaces" in his compositions. He hand-colored at least a dozen copies of each of the etchings he published, and personally supervised the coloring of others.

Desert Rovers - Apache. (Original Folio-Size Edward Curtis Photogravure)
Curtis, Edward

1903 large Curtist photogravure. Printed in Boston by John Andrew & Son, c1903, included in Portfolio 1, Plate 3,1907 . 10.5 x 14.75 inches, printed directly onto a thick sheet of Holland paper, 12.75 x 15.75 inches. Beautiful photograph of The photograph we are offering is an original print (NOT a reprint or reproduction) from the original Curtis portfolios issued in conjunction with his 20 volume work 'The North American Indian'. In fine condition, housed in archival mylar sleeve. Highly collectible.

WHITE MAN RUNS HIM, 1908 Original Edward Curtis Photogravure
Curtis, Edward

From volume 3, plate facing p. 52. Tissue paper tipped on to Vangelder paper, sheet size 12"x9", image size: approx. 8"x6". From Edward S. Curtis, "The North American Indian" Published originally in 20 volumes between 1907 and 1930, limited to five hundred copies. These volumes contain a total of 1500 photographs which were printed on a variety of papers: tissue, Japan, Holland, etc. Of the five hundred sets, only approximately one hundred were issued with plates on tissue paper. Near fine, backing paper has slight offsetting / tanning. Edward Curtis (1868-1952) was offered $75,000 by J. P. Morgan to produce a series on the North American Indian. The project took over 25 years and eventually cost well in excess of half a million dollars to produce. Curtis issued 20 volumes containing 1500 images from 1907 to 1930 and an additional 720 folio-sized images that were issued in 36 portfolios of 20 images apiece. The 20 volumes were limited to 500 copies, although only about 300 of these were ever bound and sold. The photographs were printed on a variety of paper types, and it has been speculated by experts that only about twenty percent were published on tissue paper, a kind of paper long held in high esteem by photographers for its capacity to reproduce subtle and nuanced gradations of tone, light and depth. The photograph we are offering is an original print (not a reprint or reproduction) that was removed from one of the original bound volumes. We did not remove the print ourselves and we don't have the bound volume from which it came.

Erotic Mughal Couple (original Indian Pigment Painting)
Raghupathy Bhatta

20th Century classical style erotic painting of a Mughal Couple, ca. 1985. Natural pigments on antique paper, 4.5 x 6.25 inches (11.5 x 16 cm) in brown paper backing, affixed with small stitches of paper adhesive at the rear, approx. 9 x 11.25 inches (22.5 x 28.5 cm). Masterfully executed in a traditional style, down to the illusion of hair on the bodies. Raghupathy Bhatta, represented by Gallery Mansur, began by painting ganjifa, the small playing cards popular in India. He has exhibited in London, Delhi, and more. A biography and information sheet is included with the painting.An exquisite painting, in fine condition.

A Watchman - Un homme de guet: Plate 2 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Beggar with a Dog - Mendiant avec son Chien: Plate 14 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In very good condition, with slight spotting to the background, noticeable upon close inspection. Still an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Shoemaker - Cordonnier: Plate 18 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Lantern-Painter: Plate 20 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In very good+ condition, with a few faint spots to the background, noticeable upon close inspection. Still an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Beggar with a Serpent - Mendiant avec un Serpent: Plate 22 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Traveller - Voyageur: Plate 23 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Distiller - Distillateur: Plate 24 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Fisherman - Pêcheur: Plate 25 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In very good+condition, with a few faint spots. Still an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Labourer. Un Laboureur: Plate 27 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Boschee: Plate 56 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In near fine condition, an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

Un Soldier - Un Soldat: Plate 58 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In very good condition, with slight spotting to the background, noticeable upon close inspection. Still an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

A Lame Beggar - Un Mendiant Boiteux: Plate 59 from Mason's 'The Costume of China'
Pu-Qua (illus.); Dadley (engr.); Mason

Approx. 13.25 x 9.5 inches (34 x 24.5 cm). From the first edition, published by W. Miller, Old Bond Street, London May 4,1799. Original hand colored aquatint engraving, neatly extracted from the volume. These plates are particularly notable for being masterfully engraved and colored after drawings by Cantonese artist Pu Qua. In very good+ condition, with slight spotting to the background, noticeable upon close inspection. Still an extraordinary ORIGINAL plate (NOT a reprint), highly collectible.

Original Gouache Drawing of a German Bodyguard to the King 'Kongl. Ung. Leibgarde'
n/a

Original gouache drawing, 13.75 x 9 inches (35 x 23 cm). Written above the drawing is "3080", below, "Kongl. Ung. Leibgarde". No other identifying notes are given. Appears to be late 19th century, judging by the pape, style and costume. Two small nicks and a small old staple to the edges, well outside the image area. A handsome original drawing of mysterious origin.

Original Gouache Drawing of a German Opera Singer "Tirol Zillerthal"
n/a

Original gouache drawing, 13.75 x 9 inches (35 x 23 cm). Written above the drawing is "3089", below, "Tirol Zillerthal". No other identifying notes are given. Appears to be late 19th century, judging by the pape, style and costume. In very good condition with a alight edgetear to the upper left corner and a faint lengthwise crease toward the left side, small old staple to the right edge, well outside the image area. A handsome original drawing of mysterious origin.

Cowichan Houseframe: 1912 Original Edward Curtis Photogravure on Tissue
Curtis, Edward

Tissue paper tipped on to Vangelder paper, sheet size 12"x9", image size: approx. 8"x6". From Edward S. Curtis, "The North American Indian" Published originally in 20 volumes between 1907 and 1930, limited to five hundred copies. These volumes contain a total of 1500 photographs which were printed on a variety of papers: tissue, Japan, Holland, etc. Of the five hundred sets, only approximately one hundred were issued with plates on tissue paper. Near fine, backing paper has slight offsetting. NOTES:Edward Curtis (1868-1952) was offered $75,000 by J. P. Morgan to produce a series on the North American Indian. The project took over 25 years and eventually cost well in excess of half a million dollars to produce. Curtis issued 20 volumes containing 1500 images from 1907 to 1930 and an additional 720 folio-sized images that were issued in 36 portfolios of 20 images apiece. The 20 volumes were limited to 500 copies, although only about 300 of these were ever bound and sold. The photographs were printed on a variety of paper types, and it has been speculated by experts that only about twenty percent were published on tissue paper, a kind of paper long held in high esteem by photographers for its capacity to reproduce subtle and nuanced gradations of tone, light and depth. The photograph we are offering is an original print (not a reprint or reproduction) that was removed from one of the original bound volumes. We did not remove the print ourselves and we don't have the bound volume from which it came.

San Ildefonso Women: 1905 Original Edward Curtis Photogravure on Tissue
Curtis, Edward

Tissue paper tipped on to Vangelder paper, sheet size 12"x9", image size: approx. 8"x6". From Edward S. Curtis, "The North American Indian" Published originally in 20 volumes between 1907 and 1930, limited to five hundred copies. These volumes contain a total of 1500 photographs which were printed on a variety of papers: tissue, Japan, Holland, etc. Of the five hundred sets, only approximately one hundred were issued with plates on tissue paper. Near fine, backing paper has slight offsetting. NOTES:Edward Curtis (1868-1952) was offered $75,000 by J. P. Morgan to produce a series on the North American Indian. The project took over 25 years and eventually cost well in excess of half a million dollars to produce. Curtis issued 20 volumes containing 1500 images from 1907 to 1930 and an additional 720 folio-sized images that were issued in 36 portfolios of 20 images apiece. The 20 volumes were limited to 500 copies, although only about 300 of these were ever bound and sold. The photographs were printed on a variety of paper types, and it has been speculated by experts that only about twenty percent were published on tissue paper, a kind of paper long held in high esteem by photographers for its capacity to reproduce subtle and nuanced gradations of tone, light and depth. The photograph we are offering is an original print (not a reprint or reproduction) that was removed from one of the original bound volumes. We did not remove the print ourselves and we don't have the bound volume from which it came.

Poe-Bird, New Zealand, Original plate from Cook's "Voyage Toward the South Pole"...
James Cook

Poe-bird, New-Zeeland. No. LII. Published Feby. 1st., 1777 by Wm. Strahan in New Street, Shoe Lane & Thos. Cadell in the Strand, London. 8.5 x 6.5 inches on sheet measuring11.5 x 9 inches. In very good condition, with foxing to the margins, though the image area appears unaffected, and the discolored area could be obscured with matting.

Lot of 21 hand colored exotic-erotic plates by Joseph Malay
Joseph Malay

21 Hand colored plates. Images measure 6.75 x 4.5 inches on sheets approximately 9.25 x 7 inches. A variety of Middle-East styled erotic drawings depicting various coital positions and maneuvers. 10 scenes, with duplicates of several of the plates, which were likely excised from multiple copies of a given book, though it is unclear. Mostly very good, with various small chips and tears to some of the margins, three instances of tape reinforcement on the verso. A provocative collection of erotic images. Includes "A Grand But Difficult Exploit", "The Bend of the Arch", "The Pounding on the Spot", "The Coition of the Blacksmith", "Driving the Pin In", "Coitus of the Sheep", "Frog Fashion", "The Inversion in Coition", "The Hump of the Camel", and "Coitus from the Back"

Cohy Falcon: Plate X from Latham's "A General History of Birds"
John Latham

Original hand colored engraving, approx. 10.5 x 8 inches. Plate X from Volume I of Latham's "General History...", accompanied by his section on the Cohy bird, one leaf, p. 165-166. Light discoloration around the printed area of the bird, generally good-very good.

Hornsleasows Farm #1; in Memory of Mary Webb 1881-1927. Original lithograph
Francis Adams Comstock

Original fine lithograph, number 41/50, signed and titled by Comstock in pencil. Undated, ca. 1950s. Image area measures 8 x 12.5 inches, and is housed in archival museum quality mat, 16 x 20 inches. This masterful lithograph shows a looser hand modeling the thatched barns, juxtaposed by the soft trees and landscape. Francis Adams Comstock (1897-1981), was a longtime professor of architecture at Yale University, director of the Newport, Rhode Island Preservation Foundation, and the author of two important monographs on the artists Thomas Nason and F. L. Griggs. Comstock was also a well-known artist in his own right, his work reflecting both his architectural background and his fascination with the Cotswolds in England. There was a major exhibition of his work at the Newport Art Museum (RI) in 1999.

Culham, Berkshire. Original lithograph.
Francis Adams Comstock

Original fine lithograph, number 16/70, signed and titled by Comstock in pencil. Undated, ca. 1950s. Image area measures 8.5 x 12 inches, and is housed in archival museum quality mat, 16 x 20 inches. This masterful lithograph is an excellent example of Comstock's fine architectural modeling, with delicate flourishes in the birds and trees. Francis Adams Comstock (1897-1981), was a longtime professor of architecture at Yale University, director of the Newport, Rhode Island Preservation Foundation, and the author of two important monographs on the artists Thomas Nason and F. L. Griggs. Comstock was also a well-known artist in his own right, his work reflecting both his architectural background and his fascination with the Cotswolds in England. There was a major exhibition of his work at the Newport Art Museum (RI) in 1999.

Winstone, Gloucestershire. Original lithograph.
Francis Adams Comstock

Original fine lithograph, number 50/75, signed and titled by Comstock in pencil. Undated, ca. 1950s. Image area measures 9 x 12 inches, and is housed in archival museum quality mat, 16 x 20 inches. This masterful lithograph is an excellent example of Comstock's fine architectural modeling, with delicate flourishes in the birds and trees, subtle and softly rendered clouds. Francis Adams Comstock (1897-1981), was a longtime professor of architecture at Yale University, director of the Newport, Rhode Island Preservation Foundation, and the author of two important monographs on the artists Thomas Nason and F. L. Griggs. Comstock was also a well-known artist in his own right, his work reflecting both his architectural background and his fascination with the Cotswolds in England. There was a major exhibition of his work at the Newport Art Museum (RI) in 1999.

Conversation Piece. Original lithograph.
Francis Adams Comstock

Original fine lithograph, number 30/60, signed and titled by Comstock in pencil. Undated, ca. 1950s. Image area measures 15 x 10.75 inches, and is housed in archival museum quality mat, 16 x 20 inches. This masterful lithograph is a scarcer example of Comstock's more imaginative work, finely rendering impossibly large fowl in most serious poses. Francis Adams Comstock (1897-1981), was a longtime professor of architecture at Yale University, director of the Newport, Rhode Island Preservation Foundation, and the author of two important monographs on the artists Thomas Nason and F. L. Griggs. Comstock was also a well-known artist in his own right, his work reflecting both his architectural background and his fascination with the Cotswolds in England. There was a major exhibition of his work at the Newport Art Museum (RI) in 1999.

Ghost Ranch #2. Original lithograph.
Francis Adams Comstock

Original fine lithograph, number 34/50, signed and titled by Comstock in pencil. Undated, ca. 1950s. Image area measures 13 x 8.75 inches, and is housed in archival museum quality mat, 16 x 20 inches. This masterful lithograph is a scarcer example of Comstock's more imaginative work, portraying a celestial hand in a downpour of rain, in a manner reminiscent of O'Keefe's renderings. Francis Adams Comstock (1897-1981), was a longtime professor of architecture at Yale University, director of the Newport, Rhode Island Preservation Foundation, and the author of two important monographs on the artists Thomas Nason and F. L. Griggs. Comstock was also a well-known artist in his own right, his work reflecting both his architectural background and his fascination with the Cotswolds in England. There was a major exhibition of his work at the Newport Art Museum (RI) in 1999.

Original pen & ink architectural drawing by E. C. W. Dietrich
E. C. W. Dietrich

Original pen & ink architectural drawing of a New York townhouse by E. C. W. Dietrich. Image area measures 19 x 12 inches, in an archival, museum quality mat, 24 x 18 inches. Near fine with a small smudge to the lower right corner, original pencil notations markings in the margins have been obscured underneath the mat. Faint handling and occasional smudging to the mat. A truly charming drawing with delicate line work, coupled with looser markings depicting the surrounding foliage, and high-fashioned society folks in view. Born in Pittsburgh, Dietrich became a successful New York-based architect who also designed early plans for Gustav Stickley's magazine "The Craftsman". He was one of several architects whose plans were featured in the "Ladies Home Journal", which ran a remarkably successful mail-order house service, ca. 1905 (Old-House Journal, March/April 1998, p. 52).

Original watercolor architectural rendering of a church by E. C. W. Dietrich
E. C. W. Dietrich

Original pen & ink architectural drawing of a New York townhouse by E. C. W. Dietrich. Image area measures 13.25 x 19.5 inches, in an archival, museum quality mat, 18 x 24 inches. Near fine with faint spotting to the sky-area of the image, minor handling to the mat. Delicate watercolor rendering of a church, date and location unknown. Born in Pittsburgh, Dietrich became a successful New York-based architect who also designed early plans for Gustav Stickley's magazine "The Craftsman". He was one of several architects whose plans were featured in the "Ladies Home Journal", which ran a remarkably successful mail-order house service, ca. 1905 (Old-House Journal, March/April 1998, p. 52).

Original Architectural Drawing of Manhattan Apartment Complex E. C. W. Dietrich
E. C. W. Dietrich

Original pen & ink architectural drawing labelled "110th St. Elevations -- Apartment Hotel", by E. C. W. Dietrich. Image area measures 18.75 x 15.5 inches, in an archival, museum quality mat, 24 x 20 inches. Near fine witha few stray ink spots to the right margin, minor handling to the mat. Precisely rendered pen and ink plan of the facade, undated ca. 1900. Born in Pittsburgh, Dietrich became a successful New York-based architect who also designed early plans for Gustav Stickley's magazine "The Craftsman". He was one of several architects whose plans were featured in the "Ladies Home Journal", which ran a remarkably successful mail-order house service, ca. 1905 (Old-House Journal, March/April 1998, p. 52).

Untitled lithograph by Georges Schreiber, ca. 1944
Georges Schreiber (1904-1977)

Original lithograph, not dated or numbered, ca. 1950s showing s doctor holding a newborn by its legs and reaching for one of many pairs of scissors on display. Image area measures 9.5 x 12.5 inches, and is housed in archival museum quality mat, 16 x 20 inches. In fine condition. Georges Schreiber was a well-known American Scene painter at the height of his career in the 1930s and 1940s. Born in Brussels, Belgium in 1904, Schreiber studied at the Arts and Crafts School in Elberfeld, Germany (1920), and at the Academies of Fine Art in Berlin and in Dusseldorf (1922). In 1928, when he came to the United States, Schreiber contributed his drawings and cartoons to most of New York's daily papers to give himself a basis of support until he found a dealer to represent him. From 1936 to 1939, Georges Schreiber made six long trips touring the United States painting and sketching life from Canada to the Gulf of Mexico and from Maine to Oregon, capturing the characteristics of Americans in every state. From 1941 to 1945, Schreiber was commissioned by the United States Army and Navy to do a series of works, including a joint effort with his friend Thomas Hart Benton to capture life aboard a submarine. Schreiber also painted the War Bond posters "Keep them Flying," "Back the Attack," and the fifth War Loan poster "Fire Away." Among the collections with works by Georges Schreiber are the Metropolitan Museum of Art, Whitney Museum of American Art, Museum of the City of New York, Brooklyn Museum, Montclair Art Museum, Newark Museum of Art, Springfield Museum of Art, Massachusetts Institute of Technology, Library of Congress, White House Library, Toledo Museum of Art, Los Angeles County Museum of Art, the Bibliothéque Nationale, and the Museum of Tel Aviv.

"Truxillo", original copperplate engraving from Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', 1671
John Ogilby

1671 Original copperplate engraving of Fort Truxillo in Honduras. Plate measures 11 x 13.5 inches (28 x 34 cm), on sheet measuring 15.5 x 18.25 inches (38.5 x 47 cm). VG+ with light spotting, faint centerfold mark, as is common. From Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', being a translation of Arnold Montanus' 'Die Nieuwe en onbekende Weereld' (1870), much expanded with new maps and views.

"Cartagena", original copperplate engraving from Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', 1671
John Ogilby

1671 Original copperplate engraving of Cartagena. Plate measures 11 x 13.5 inches (28 x 34 cm), on sheet measuring 15.5 x 18.25 inches (38.5 x 47 cm). VG+ with light spotting, faint centerfold mark, as is common. Small snag in the upper margin and faint crease to the sheet.From Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', being a translation of Arnold Montanus' 'Die Nieuwe en onbekende Weereld' (1870), much expanded with new maps and views. Handsome and slightly fantasized print of this northern Colombia town.

"Castrum Mauritij Ad Ripam Fluminis S. Francisci", original copperplate engraving from Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', 1671
John Ogilby

1671 Original copperplate engraving of Fort Maurice, Brazil. Plate measures 11 x 13.5 inches (28 x 34 cm), on sheet measuring 15.5 x 18.25 inches (38.5 x 47 cm). VG+ with light spotting, faint centerfold mark, as is common. Light splitting to upper centerfold, inconspicuous when laid flat. From Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', being a translation of Arnold Montanus' 'Die Nieuwe en onbekende Weereld' (1870), much expanded with new maps and views. Handsome view of Fort Maurice, Brazil, overlooking Rio Francisco.

"Cusco", original copperplate engraving from Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', 1671
John Ogilby

1671 Original copperplate engraving of Cusco. Plate measures 11 x 13.5 inches (28 x 34 cm), on sheet measuring 15.5 x 18.25 inches (38.5 x 47 cm). VG+ with light spotting, faint centerfold mark, as is common. Light splitting to centerfold, inconspicuous when laid flat. From Ogilby's 'America, Being the Latest and Most Accurate Description of the New World...', being a translation of Arnold Montanus' 'Die Nieuwe en onbekende Weereld' (1870), much expanded with new maps and views. Handsome view of Cusco, the Peruvian city founded on the ancient Incan capital.

'Sezione prospettica dell' Anfiteatro Albano...', original copperplate engraving from "Antichita di Albano e di Castel Gandolfo..." (1764)
Giovanni Battista Piranesi (1720-1778)

'Sezione prospettica dell' Anfiteatro Albano...', or, 'Constructional Diagrams of the Amphitheatre of Domitian at Albano'. Original copperplate engraving from "Antichita di Albano e di Castel Gandolfo..." (1764). Engraving measures 16 x 10.5 inches (40.5 x 27 cm), in an archival, museum-quality mat measuring 24 x 20 inches (61 x 51 cm). A fine plate in fine mat. Giovanni Battista (also Giambattista) Piranesi (1720-1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Carceri d'Invenzione). Piranesi's enthusiasm for Rome and superior abilities made him able to faithfully imitate the actual remains of a fabric; his invention in catching the design of the original architect provided the missing parts; his masterful skill at engraving introduced groups of vases, altars, tombs that were absent in reality; and his broad and scientific distribution of light and shade completed the picture, creating a striking effect from the whole view.

'Dimostrazione in Grande delle Parti del Tempio della Fortuna Virile...', original copperplate engraving from "Le Antichita Romane" (1762)
Giovanni Battista Piranesi (1720-1778)

'Dimostrazione in Grande delle Parti del Tempio della Fortuna Virile...', or, 'Reconstruction of Details from the Temple of Fortuna Virilis, Column Base'. Original copperplate engraving from Volume IV No. 51 of "Le Antichita Romane", originally published in Rome, 1762. This impression ca. 1770. Engraving measures 16 x 10.5 inches (40.5 x 27 cm), in an archival, museum-quality mat measuring 24 x 20 inches (61 x 51 cm). A fine plate in fine mat. Giovanni Battista (also Giambattista) Piranesi (1720-1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Carceri d'Invenzione). Piranesi's enthusiasm for Rome and superior abilities made him able to faithfully imitate the actual remains of a fabric; his invention in catching the design of the original architect provided the missing parts; his masterful skill at engraving introduced groups of vases, altars, tombs that were absent in reality; and his broad and scientific distribution of light and shade completed the picture, creating a striking effect from the whole view.

'Del Castello Dell' Acqua Giulia', original copperplate engraving from "Le Rovine del Castello dell' Acqua Giulia" (1761)
Giovanni Battista Piranesi (1720-1778)

'Del Castello Dell' Acqua Giulia', or, 'Concerning the Fountainhead of the Acqua Giulia, Rome: map of the acqueduct system and plans and details of the acqueduct'. c. 1770s copperplate engraving from "Le Rovine del Castello dell' Acqua Giulia", originally published in Rome, 1761. Engraving measures 16 x 10.5 inches (40.5 x 27 cm), in an archival, museum-quality mat measuring 24 x 20 inches (61 x 51 cm). A fine plate in fine mat. Giovanni Battista (also Giambattista) Piranesi (1720-1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Carceri d'Invenzione). Piranesi's enthusiasm for Rome and superior abilities made him able to faithfully imitate the actual remains of a fabric; his invention in catching the design of the original architect provided the missing parts; his masterful skill at engraving introduced groups of vases, altars, tombs that were absent in reality; and his broad and scientific distribution of light and shade completed the picture, creating a striking effect from the whole view.

Inscribed at upper right: Tab. XVII. At bottom center: 1. Rudera Circi Flaminij. 2 Reliquiae columnarum Aedis Apollinis ad cumdem Circum. 3 / Reliquiae Theatri Pompejani. At lower left: Vide incidem ruinarum num. 54. et 55. c. 1770s copperplate engraving measuring 16 x 10.5 inches (40.5 x 27 cm), in an archival, museum-quality mat measuring 24 x 20 inches (61 x 51 cm). A fine plate in fine mat. Giovanni Battista (also Giambattista) Piranesi (1720-1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Carceri d'Invenzione). Piranesi's enthusiasm for Rome and superior abilities made him able to faithfully imitate the actual remains of a fabric; his invention in catching the design of the original architect provided the missing parts; his masterful skill at engraving introduced groups of vases, altars, tombs that were absent in reality; and his broad and scientific distribution of light and shade completed the picture, creating a striking effect from the whole view. A copy of this plate can be found in the Metropolitan Museum of Art.

Lamina LII, Views of Peru, Original Plate from "Antiguedades Peruanas" (1851)
Mariano Eduardo de Rivero; Juan Diego de Tschudi ; Leopoldo Muller (engr.)

Two-tone lithograph, 20.5 x 15 inches (52 x 38 cm). Two images on one sheet, VG+ with a few small, closed edgetears, minor age toning. The first drawing shows the town and fortress of Ollantay, the second is a view of the hill and Colla Clustoni. "Antiguedades Peruanas" was described in Sabin's 'Catalogue of the Library of E. G. Squier as "The result of toilsome research by two learned gentlemen. Their contribution to ethnological and philological science has been esteemed by the learned world among the most valuable, after that of Humboldt, of those relating to South America."

Lamina LIII, Views of Peru, Original Plate from "Antiguedades Peruanas" (1851)
Mariano Eduardo de Rivero; Juan Diego de Tschudi ; Leopoldo Muller (engr.)

Two-tone lithograph, 20.5 x 15 inches (52 x 38 cm). Two images on one sheet, VG+ with a few faint spots in the edges. "Antiguedades Peruanas" was described in Sabin's 'Catalogue of the Library of E. G. Squier as "The result of toilsome research by two learned gentlemen. Their contribution to ethnological and philological science has been esteemed by the learned world among the most valuable, after that of Humboldt, of those relating to South America."

Lamina XXXV, Ceramic Vessels, Original Plate from "Antiguedades Peruanas" (1851)
Mariano Eduardo de Rivero; Juan Diego de Tschudi ; Leopoldo Muller (engr.)

Two-tone lithograph, approx. 20.5 x 15 inches (52 x 38 cm). VG+ with very faint spotting toward the lower right corner and a one inch closed tear at the upper edge. "Antiguedades Peruanas" was described in Sabin's 'Catalogue of the Library of E. G. Squier as "The result of toilsome research by two learned gentlemen. Their contribution to ethnological and philological science has been esteemed by the learned world among the most valuable, after that of Humboldt, of those relating to South America."

Lamina XXVIII, Ceramic Vessels, Original Plate from "Antiguedades Peruanas" (1851)
Mariano Eduardo de Rivero; Juan Diego de Tschudi ; Leopoldo Muller (engr.)

Color lithograph, approx. 20.5 x 15 inches (52 x 38 cm). VG+ with very faint spotting toward the edges, light edgewear and a faint crease to the upper right corner. "Antiguedades Peruanas" was described in Sabin's 'Catalogue of the Library of E. G. Squier as "The result of toilsome research by two learned gentlemen. Their contribution to ethnological and philological science has been esteemed by the learned world among the most valuable, after that of Humboldt, of those relating to South America."

Lamina II, View with a Cross, Original Plate from "Antiguedades Peruanas" (1851)
Mariano Eduardo de Rivero; Juan Diego de Tschudi ; Leopoldo Muller (engr.)

Two-tone lithograph, approx. 20.5 x 15 inches (52 x 38 cm). VG+ with very faint spotting in the margins and light edgewear. "Antiguedades Peruanas" was described in Sabin's 'Catalogue of the Library of E. G. Squier as "The result of toilsome research by two learned gentlemen. Their contribution to ethnological and philological science has been esteemed by the learned world among the most valuable, after that of Humboldt, of those relating to South America."

Lamina IIL, Views of Peru, Original Plate from "Antiguedades Peruanas" (1851)
Mariano Eduardo de Rivero; Juan Diego de Tschudi ; Leopoldo Muller (engr.)

Two-tone lithograph, 20.5 x 15 inches (52 x 38 cm). Two images on one sheet, VG+ with light edgwear and very faint spotting. "Antiguedades Peruanas" was described in Sabin's 'Catalogue of the Library of E. G. Squier as "The result of toilsome research by two learned gentlemen. Their contribution to ethnological and philological science has been esteemed by the learned world among the most valuable, after that of Humboldt, of those relating to South America."