Bloom Left Hand (27 Ergebnisse)

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. 1st Edition. 2nd printing. Bright & tight copy, unread, in Near Fine condition (slight foxing on edges). "Here is Steven Millhauser's most brilliant, expansive creation yet, the adventures of Carl Hausman, a dreamy, dissatisfied young man who, while watching a baseball game one hot August afternoon, chases a foul ball into a thicket and discovers an opening into the underworld. Morpheus, the genial master of that realm, takes Carl on an epic tour that includes the lost kingdom of Atlantis, a library containing the conclusions of all the books that were never finished as well as all the books mentioned in other books but never actually written, mirrors with memories, mermaids, giants, and a man who sprang to life out of a mediocre painting. [] But the most memorable resident of this remarkable world is surely Morpheus himself, 'a denizen of the dark, a magnifico of murk, a malingerer, a ne'er-do-well, a fair chessplayer, a dabbler in this and that.' [] FROM THE REALM OF MORPHEUS is a sweeping journey through the pleasures and sorrows of art, love, illusion and reality, set in a vividly detailed world that uncannily reflects our own. This feast of brilliant storytelling is sure to join the rest of Steven Millhauser's books on the short shelf of truly indispensable contemporary fiction." [jacket copy] "The dream-world suggested in the title begins with an image of a remembered life in an unspecified time and place. . . Here, Emma Bovary chats amiably with Leopold Bloom, and figures from history, literature, legend, myth and fable disport themselves in settings that are transfigured versions of Olympus, Camelot, Dante's Inferno, Atlantis, Lewis Carroll's and T. H. White's fantastic universes. A carnival atmosphere prevails: special effects done by mirrors and sleight of hand, and staged in a mock-Elizabethan lingo that is generally amusing but sometimes misfires; at times, too, the elaborate enterprise is excessive to a fault. But the festival air is disarming, and the ebullient author/impresario. . . is equal to the formidable task he has set himself."--Publishers Weekly. "Steven Millhauser is a worthy descendant of Hawthorne. There are only a few stylists left in American writing, but he's one of them."--Guy Davenport. "Narrator Carl Hausman stumbles through an opening to the underworld, where he meets its master, Morpheus. With these two life-loving picaros, we tour a strange realm, experiencing much of the action through the further remove of various interpolated tales. A portrait-figure steps out of his painting to live a Wertherean life. Mirrors and shadows discourse on the nature of love. Morpheus recounts his own longing for a mermaid, while the narrator has a Brobdignagian romantic adventure and descends to Atlantis, a monument to artifice surpassing even Byzantium. In a work whose language, structure, and vein of fancy recall the 18th century, love and aesthetics are recurring themes. Admirers of Borges, Hoffman, or Wilde will enjoy the tour de force writing, witty wordplay, and clever invention found here."--Library Journal. Near Fine hardcover w/brilliant corners & crisp edges (very slight foxing), a square & tight binding, wrapped in a NF handsome & intact jacket. Quite presentable.

Softcover. Zustand: Sehr gut. 1. Auflage. Z : 22 x 30 cm, 190 pages, 395 color & 225 b/w illustrations - The book presents most of Gitte Villesen's works made since 1994. Each work is described and contextualized in a text by the artist. The book also includes texts by Brett Bloom, Hanne Loreck, Jan Verwoert, and an interview conducted by Lotte Moller. The title of the book is a quote taken from Ursula Le Guin's 1969 science-fiction novel "The Left Hand of Darkness.".

Original Paperback. Zustand: Sehr gut. 178 p. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Very good and clean. - To Ezra Pound the Victorian Age, like the rest of the nineteenth century, was a rather blurry, messy sort of a period, a rather sentimentalistic, mannerish sort of a period.1 T. S. Eliot, too, dismisses the Victorians. After describing the dissociation of sensibility which for him characterizes poetry since the seventeenth century, he credits Keats and Shelley with struggling toward unification. But Keats and Shelley died, and Tennyson and Browning ruminated.2 Yeats also criticizes the psychology, science, moral fervour of Victorian poetry.3 The anti-Victorianism of the chief Modernist poets is well known, in large part because it was incorporated into the New Critical vision of poetic history. In the Notes for a Revised History of English Poetry, which ends Modern Poetry and the Tradition, Cleanth Brooks uses the concept of dissociated sensibility to discredit the achievements of Romantic poetry. The Victorians provide him with the most extreme example of the poetic failures he describes: Victorian poetry hardly calls for extended comment here. The points to be made against it on the basis already set forth are perfectly obvious, and have been made often. . . . The motive here is not to add anything to the indictment, but merely to relate the poetry of the Victorians to the foregoing pattern. Victorian poetry does offer occasion for a convenient summary; for, if poetry since the Restoration has been characterized by a confusion between imaginative and scientific organization, the Victorian period will furnish an illustration of this confusion in its final and most extreme form. Poetry is left impaled on one of the two horns of the dilemma: poetry with a message, the philosophy of Tennyson and Browningthe attempt to substitute poetry for religion; or, on the other hand, pure poetry, art for arts sake. Brooks was speaking in 1939. In 1965 he wrote A Retrospective Introduction for a new printing of the book in which he comments on his earlier views. He asserts that were he rewriting the book today, he would want to lay more stress on the extent to which Eliot, Yeats, and the other modern poets built upon the Romantic tradition and incorporated structural devices that are a part of the general Romantic inheritance.5 He does not mention the Victorians in his retrospective revaluation. Recent scholarship in literary history has largely followed the pattern which Brookss retrospection suggests. There has been an elaborate and subtle revaluation of the complex relationship between Romantic and modern poetry in the work of Frank Kermode, Robert Langbaum, Harold Bloom, and George Bornstein among others.6 But the poetry of the Victorians has been either neglected in these discussions, thereby giving covert support to the Modernist view of the Victorian period, or assimilated to the Romantic tradition. Kermode treats Pater, Rossetti, and even Arnold as transmitters of Romantic thought; in his study of Yeats, Bloom uses the work of Pater and Rossetti to explain the beginning of Yeatss transition from nineteenth- to twentieth-century Romanticism. Langbaum is the one critic who gives prominence to the Victorians in his treatment of the relationship of the nineteenth and twentieth centuries, but he too assimilates Victorian poetry to a Romantic tradition in his argument that the poetry of the nineteenth and twentieth centuries can be seen as a poetry of experience. ISBN 9780226104591 Sprache: Englisch Gewicht in Gramm: 203.

Taschenbuch. Zustand: Neu. Neuware - 'With just a few days left before Halloween, everyone at Howard Academy is anticipating the guaranteed sugar high they'll experience from gorging on Harriet Bloom's famous marshmallow puffs. The private school's annual costume party revolves around the headmaster's assistant and her seemingly supernatural batches of gooey goodies. So, it's a shock when Harriet's elderly neighbor is suddenly found dead with the beloved dessert in his hand. In a snap, police start questioning whether Harriet modified her top-secret recipe to include a hefty dose of lethal poison. Melanie knows her tenured colleague would never intentionally serve cyanide-laced puffs to a defenseless old man. But as explosive neighborhood gossip reveals a potential culprit, it also brings her closer to sealing her own doom'.

Buch. Zustand: Neu. Neuware - When English thirteen-year-old Rosemary is evacuated to her grandmother in America at the start of World War II, she uncovers the family secretthey are Anishinaabe and passing as white.Life in England is all Rosemary has ever known. . . but as WWII changes the world, no one's life is left unscathed. Suddenly, she's sent away to escape the devastation of London. Her grandmother's house on Lake Superior is safe, but unfamiliar, especially as she discovers her parents have kept a tremendous secret. Rosemary and her family are Anishinaabeand no one is supposed to know. Far from home but newly connected to a once-hidden part of her family, Rosemary develops a warm, close relationship with her grandmother and a local boy whose love of gardening helps her to see the beauty in her unexpected circumstances. As Rosemary grows into her new life like a flower in bloom, she realizes that maybe she's not as far from home as she thought. Tender, sophisticated, and sweet, this is a beautiful story about memory, family, and identity. Rising Ojibwe author Anna Rose Johnson addresses the trauma of World War II and the legacies of hidden indigeneity alongside coming-of-age milestones like first crushes, new schools, and beginning to imagine the life you want. Hand The Blossoming Summer to fans of Christine Day, L.M. Montgomery, and Kimberly Brubaker Bradley!A Junior Library Guild Gold Standard Selection.

Taschenbuch. Zustand: Neu. Neuware - Introducing the Flitlits to Young ReadersAt your place, or any space where flowers grow or rivers flow, spring up!Spot folk at plots that time forgot within a shaded shelter.A map at hand lays out the land.It is a hidden corner.Funny fables come your way that share the far folk's daring days.They may be tricky, good or better.The folk flit and swish.They float when they wish.Follow them soon.THE FLITLITS¿¿¿About Introductory Book 8 / COOKIE BANG-BOOM / Confident Reading / UK English VersionCookie Bang-Boom is zippy and bright but can be wrong when she should be right.There is no doubting whatsoever: her better half is her soft centre.She is witty, loud and likes to sing, mostly like a broken string.The Bang-Boom's farm sits on Bloom Plot, where flowers grow and horses trot.A stream named Plot-a-Lot runs by with its scrambling, babbling cry.STORY 8 finds Cookie searching for a place where a Flitlit chose a face.He kept the face that was his own. It was fine and so well-known.But he opted for another that would give his face a brother.He would always face things twice: front and back; or left and right.Will two friends choose to wear fake faces or two faces in two places.

Taschenbuch. Zustand: Neu. Neuware - Introducing the Flitlits to Young ReadersAt your place, or any space where flowers grow or rivers flow, spring up!Spot folk at plots that time forgot within a shaded shelter.A map at hand lays out the land.It is a hidden corner.Funny fables come your way that share the far folk's daring days.They may be tricky, good, or better.The folk flit and swish.They float when they wish.Follow them soon.THE FLITLITSAbout Introductory Book 8 / COOKIE BANG-BOOM / Confident Reading / US English VersionCookie Bang-Boom is zippy and bright but can be wrong when she should be right.There is no doubting whatsoever: her better half is her soft center.She is witty, loud, and likes to sing, mostly like a broken string.The Bang-Boom's farm sits on Bloom Plot, where flowers grow and horses trot.A stream named Plot-a-Lot runs by with its scrambling, babbling cry.STORY 8 finds Cookie searching for a place where a Flitlit chose a face.He kept the face that was his own. It was fine and so well-known.But he opted for another that would give his face a brother.He would always face things twice: front and back; or left and right.Will two friends choose to wear fake faces or two faces in two places.

Taschenbuch. Zustand: Neu. Neuware - Introducing the Flitlits to Young ReadersAt your place, or any space where flowers grow or rivers flow, spring up!Spot folk at plots that time forgot within a shaded shelter.A map at hand lays out the land.It is a hidden corner.Funny fables come your way that share the far folk's daring days.They may be tricky, good or better.The folk flit and swish.They float when they wish.Follow them soon.THE FLITLITS¿¿¿About Introductory Book 8 / COOKIE BANG-BOOM / Supported Reading / UK English VersionCookie Bang-Boom is kind and caring.She is also brave and daring.Cookie is chatty, loud and likes to sing, mostly like a broken string.The Bang-Boom's farm sits on Bloom Plot.There, flowers grow and horses trot.A stream named Plot-a-Lot runs by with its soft and rippling cry.STORY 8 finds Cookie looking for a place where a Flitlit chose a face.He kept the face that was his own.It was fine and so well-known.But he looked out for another that would give his face a brother.He wished to always face things twice: front and back; or left and right.Will two friends choose to wear fake faces or two faces in two places.

Taschenbuch. Zustand: Neu. Neuware - If growing up is hard, becoming an actual adult is even harder, and the transition between the two can, at times, seem like a minefield.Cory is just an average 18-year-old nerd who plays video games and reads comic books. Well, mostly average. He's also gay, in the closet, and into some pretty kinky stuff. Sure, his only outlet is the internet and his left hand, but with college right around the corner, he figures his secret is safe. Right Except Cory's two best friends, Derek and Nic, recently found out about that secret. And just like a lot of teenage boys, they decide to think with their groins and take advantage of the situation. With the internet as their guide, they formulate a plan to train Cory into being their personal submissive plaything.As they learn more about themselves, each other, and the kinky world of BDSM, Cory, Derek, and Nic may also discover that romance can bloom in the most unexpected of places.

Taschenbuch. Zustand: Neu. Neuware - You've loved these Bad Boys before, now you can enjoy them all together. This exclusive Sharon Hamilton bundled set is three books in one: SEAL's Promise, SEAL My Home and SEAL's Code. Enjoy your encounter with T.J. Talbot, Rory Kennedy and Danny Begay.SEAL's Promise: Special Operator T.J. Talbot had watched from afar as his best friend married the love of his life. Raised in and out of the foster care system and nearly ruining his chance to become a SEAL, he figured his Happily Ever After would never be. But Dr. Death plays a heartbreaking trick on him and he winds up being the man's father confessor, where he makes a promise to the dying SEAL to look after his friend's wife and baby. Back in the states, Shannon Moore is grateful for the baby she is carrying, though she is a constant reminder of the man who no longer lives at her side. She is not ready for the attention from the community she receives, especially from T.J. She's decided to honor her fallen husband by giving her whole life to the child he left behind. Recovering from his wounds, Talbot is plagued by the depth of the wounds he still carries inside him, as he tries to perform a mission he wishes he was not given. Rebuffed at every turn, he struggles but understands his promise might not be able to be fulfilled. He does not want to take what was never given to him in the first place. But what starts out as an improbable love story begins to bloom and grow. When Shannon and the child are endangered, he will not quit fighting for the family he now knows he was meant to love forever. SEAL My Home: Bad boy Rory Kennedy was raised in foster care, bouncing in and out of trouble along the way. He finds his true family and real brothers as a Navy SEAL, one of the Navy's elite warriors. When his BUD/S instructor barked the SEAL's Motto: Only Easy Day Was Yesterday, he knew he had found home. Megan Palmer works in a bookstore and finds her passion in life through reading steamy romance novels. Her brief affair with a man she later found out was married has left her damaged, until she meets the handsome SEAL, who stands ready to open her world and give her things she's only dreamed. On a skiing trip, Rory suffers a possible career-ending injury and also comes face to face with a past he never knew of, and a family who had abandoned him. His relationship with Megan is tested to the breaking point as Rory wades through the dark waters of recovery and whether or not he can live without the life he loves. A home-grown terrorist cell forces his hand and he discovers his true purpose. SEAL's Code: Danny Begay has tried to drive out the voices of his ancestors for most of his young life, but the life springing from his Navajo roots will not die. He is summoned back to Arizona to visit his dying grandfather, one of the original Navajo Code Talkers. Ashamed he has disappointed his hero grandfather he buries himself one more time in the arms of a stranger before he goes back to his home in Northern California. Luci Tohe teaches at the reservation school, safeguarding the health of her ailing mother and little sister's future, at the temporary expense of her own. She doesn't expect the young Dine warrior she meets to be anything but a distraction from her loneliness. She knows she will dream about their hot encounter for years. Danny cleans his life up, joins the Navy and becomes a SEAL, where he becomes the man he knew he was destined to become. Between deployments, he goes back visit the girl he cannot get out of his mind. The reservation has become a dangerous place for Luci's family and soon Danny is embroiled in not only saving Luci, but her whole family as well.

Buch. Zustand: Neu. Neuware - In 1898, when the USS Maine was sunk off the coast of Cuba, the U.S.A. entered the war against Spain. By May 1898, Commodore Dewey won the Battle of Manila Bay against the Spaniards.Filipino rebels were also fi ghting Spain at that time, trying to be free from more than 300 years of Spanish colonization. The rebels thought that the Americans had helped them become free; but the Americans had otherplans. On September 28, 1901, Americans were massacred at Balangiga, Samar. American rescue teams arrived, and subsequently an order to make Samar 'a howling wilderness' was given. The bells used to signal the rebellion were taken as war booty by the Americans.Forty years later, WW II breaks out, and they faced a common enemy.And long ago, a love that was in bloom was thwarted by a mysterious fate. Would fate now be kinder to another love Jack looked Victoria in the eye, when suddenly he felt his heart beat faster. He was hoping he could talk with her and her family a little longer, or maybe they would invite him for breakfast. Suddenly he felt awkward.'Thanks for your help. I'll be seeing you around,' he said.He might have turned red. He could still sense his rapid heartbeat, and he hoped against hope that they did not notice. Somehow he was able to get back to his jeep and drive back to his barracks. John had been taking notes as she spoke, then he put his pen down and looked up. 'What happened that night, Clara I just want to know,' he said.Clara was already at the door, her hand at the knob, ready to fl ee. She looked back at John and told her story.'When you left, I was very happy, making plans with my mother. Suddenly Dolfo arrived! He had been looking for me all afternoon and was very jealous, thinking I was with you. He confronted me.''Where have you been ' he said angrily and came toward me.'.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | As the town of Greenwich, Connecticut, counts down to a spooky celebration on October 31st, a horrifying murder leaves Melanie Travis pawing for clues in a hair-raising game of trick-or-treat . . . With just a few days left before Halloween, everyone at Howard Academy is anticipating the guaranteed sugar high they'll experience from gorging on Harriet Bloom's famous marshmallow puffs. The private school's annual costume party revolves around the headmaster's assistant and her seemingly supernatural batches of gooey goodies. So, it's a shock when Harriet's elderly neighbor is suddenly found dead with the beloved dessert in his hand. In a snap, police start questioning whether Harriet modified her top-secret recipe to include a hefty dose of lethal poison . . . Melanie knows her tenured colleague would never intentionally serve cyanide-laced puffs to a defenseless old man. But as explosive neighborhood gossip reveals a potential culprit, it also brings her closer to sealing her own doom. Because on an evening ruled by masked revelers, bizarre getups, and hidden identities, Halloween might just be the perfect opportunity for a cold-hearted killer to get away with murder once again-this time sending a nosy, unsuspecting sleuth to an early grave!

Zustand: Hervorragend. Zustand: Hervorragend | Seiten: 340 | Sprache: Englisch | Produktart: Bücher | Marie Bensworth has been married now for 10 long years, living in the Wyoming plains' beautiful empty spaces with her husband, Lewis. Childless and lonely, it seems her life is faced with replaying the same hot, long days again and again.That is, until an outcast stranger moves to town. In the weeks to follow, thoughts and feelings arise within her she never knew she had, pushing and guiding her to this new and mysterious man. When their worlds abruptly collide, their attraction, at first ignored, becomes something much more powerful, stirring deeply within each of them.Now, as the golden band on her left hand sets her life, she must decide if this man is worth the cost of her reputation and marriage. But when Lewis becomes suspicious, Marie will be faced with the choice to stand firm or fall into the strong arms of a man she was destined to love.

Botanical print. Copper plate engraving with hand coloring. Page measures 9" x 5.75". This beautiful engraving depicts the hibiscus in bloom. Curtis notes that 'few annuals are more admired than this flower'. William Curtis (1746-1799) was an English botanist who began as an apothecary before turning his attention to natural history. He established his own London Botanic Garden in the 1770's and published "Flora Londinensis" (6 volumes, 1777-1798) which was devoted to urban nature. This was not a financial success, but he went on to publish "The Botanical Magazine" in 1787, a work that featured hand colored plates by various artists, and which was very popular. Natural history illustrators such as James Sowerby and Sydenham Edwards found a start with the magazine. This botanical is from volume 1 of the magazine and is sold with it's original description. Pin holes along left edge from original binding. Full original margins. Please visit our gallery for more Curtis prints.

pp. xxxvi, 293, (i) blank, (i) Errata, (i) blank; vii, (i) blank, 308; (ii) half-title, vi, 304. Errata slips to v. II and III. Original brown ribbed cloth, remains of a subscription library label on each rear paste-down, some wear to the rear spine margins of the first two volumes, all joints intact and contents clean, uncut, signature of LILIAN AYLMER-JONES 1936 on each paste-down, and the comment - 'And at my death I leave this to my dear son Felix Aylmer-Jones should he survive me which in the ordinary course of nature he should do so. L.A.J. Sept.4th 1942.' He did indeed. he died in 1879, born 1889. His mother Lilian, born 1864, died in 1951. She was a singing teacher. Felix became an actor and appeared in many films and stage productions and was equally prolific on television. *ALFRED BUNN [1796-1860]. Bunn was appointed stage manager of Drury Lane Theatre, London, in the year 1823. In 1826, he was managing the Theatre Royal in Birmingham, and in 1833 he undertook the joint management of Drury Lane and Covent Garden, London. In this undertaking he met with vigorous opposition. A bill for the abolition of the patent theatres was passed in the House of Commons, but on Bunn's petition was thrown out by the House of Lords. He had difficulties first with his company, then with the lord chamberlain, and had to face the keen rivalry of the other theatres. A longstanding quarrel with William Charles Macready resulted in the tragedian assaulting the manager. In Macready's own words, he walked past Bunn's door and 'going up to him as he sat on the other side of the table, I struck him as he rose a backhanded slap across the face. I did not hear what he said, but I dug my fist into him as effectively as I could; he caught hold of me, and got at one time the little finger of my left hand in his mouth, and bit it.' Bunn also quarreled with the opera singer Jenny Lind, the "Swedish Nightingale", over her contract. According to Lind's biographers, Henry Scott Holland and W. S. Rockstro, the singer 'was so terrified at the penalties, the law-suits, and the disgrace with which Mrs. Bunn had threatened her, that her dearest and most trusted friends could not persuade her to entertain the idea of appearing at an English theatre, under any circumstances, or upon any terms whatever.' The controversy was recorded by Bunn in his The Case of Bunn Versus Lind. In 1840, Bunn was declared a bankrupt, but he continued to manage Drury Lane and the Surrey Theatre until 1848 at the age of fifty-two. Artistically, his control of his English theatres was highly successful. Nearly every leading English actor of the time played under his management, and he made an attempt to establish English opera, producing the principal works of Michael William Balfe. He had some gift for writing, and most of the libretti of these operas were translated by him. In The Stage Before and Behind the Curtain (3 vols., 1840), he gave a full account of his managerial experiences. In James Joyce's Ulysses, the main character Leopold Bloom thinks briefly (and incompletely) of a lyric Bunn wrote: "Whose smile upon each feature plays with such and such replete". The original lyric, from the William Vincent Wallace opera Maritana, is: "Whose smile upon each feature plays with truthfulness replete". [WIKI].

4to. x, 376 pp. Contents, list of plates, errata, 13 aquatint plates (5 hand-colored), 2 appendices; frontispiece-plate trimmed and re-mounted, some soiling, foxing throughout, off-setting from plates, cellophane tape repair to final leaf (corner). Modern quarter dark brown calf, dual gilt stamped red morocco spine labels, raised bands, new endleaves; title-page and other red rubberstamps (p. 1, pl. facing p. 80) of the Mercantile Library of Philadelphia. Over-all very good; fine binding. First edition. In 1817 Johnson, who had lived most of his life in India, and his companion Captain Salter decided that they would travel to England by land. The Napoleonic wars were at an end and peace was the rule in Persia and Europe. Further, the successes of the English had left a favorable impression with many people and the British uniform was respected. This book is based on Johnson's journal of their travels. It is filled with observations on local life and customs as well as the adventures of the traveler. Johnson supplies the reader with tables of expenses and distances, and writes about points of interest. He states his points of view freely, without much courtesy, which brings out the bias and makes the reader understand it. On page 25 Johnson makes a disparaging remark on Armenian women, "they cannot be commended generally for superior beauty." Later he comments on their "fine black eyes and hair; with large eye-brows." Then in his uniquely British vernacular, "they showed little freshness and no bloom." Then of equal interest he comments on his understanding of the Persian opinion or lack of esteem for Armenians and makes comparison to the Jews: "⦠the few Jews who are established in Persia are still more despised than the Armenians." (p. 26). / Johnson is also very giving with specific data on the details of travel, including costs, hired help, equipment and clothing, tipping, with clarifications for payment to his cook, servants, and a muleteer. The account leaves from Bombay, India and arrives at Muscat, passing through the Persian Gulf and landing again at Bushire, through Boorauzgoon, Daulekee, Konar Takht, Kumaredge, Kauzeroon, Shahpoor, Shiraz ["Shirauz"], Zergoon, Persepolis, Valley of Meerdusht, Oojan, Kooshkezerd, Dehgurdoo, Komesha, Isfahan ["Ispahan"], Shah Abba's palace, etc., then to Tehran ["Tehraun"]. There is a sequence here in Tehran where the author and his British companions enter into a hummaum, the Turkish-style hot bath, they are scrubbed down with a "glove or bag of mohair to act as a flesh brush" (luffa/loofah), then they must have astonished the staff when they were body scrubbed, the surface flesh scaled off, then asked to be washed with Western style soap! It's a challenge to be introduced to a new culture, try it and then ask to have it all done again in a Western manner, but consider how the soap made them unclean when they were as clean as possible! None-the-less there is a lot of description and some insight, and the innocent attitude of the separatist Brits comes through a lot. / The contemporary reviewer (unsigned) establishes first that Johnson's route is similar to that of James Morier who published his account in 1812, just six years earlier. The illustrations are complimented as striking and appropriate to the topic. Johnson is given added merit over Morier in that "[he] was more fortunate than his predecessor, since [when in Shapour] he penetrated to the cave in which [the ruin] was deposited, and actually ascertained the existence of the celebrated colossal statue [pl. p.43], of which he has furnished an elegant drawing⦠The Work presents a very agreeable deviation from Morier's track, in the Colonel's irruption into the country of the untamable Don Cossacks, and his visit to the distinguished [Count] Platoff, the account of whose magnificent hospitality to British readers must afford peculiar gratificationâ¦" â" The European Magazine, and London Review, October, 1818, pp.336-337. /.

Zustand: Good. 4to. 8 x 10.75 inches. Edition of 125 copies; original dark brown wraps with etched cover label; signed, dated Feb. 1921 and annotated in pencil "Copy no 8." 13 etchings (plus cover label and 2 etched ad leaves). Several signed and dated 1937 in pencil including: Sketches of Ex-Pres. Wilson , Pres. Harding et al. on Armistice Day; Ferdinand Foch; General Leonard Wood; My Dog; Vera Bloom; The Alamo; J., Ray Johnson. Various colored inks. 27.0 x 20 cm., heavy wove paper, tissue guards. Original hand-bound dark brown stiff wrappers with etched label on upper cover;small lose to cover lower left.Bernhardt Wall was born in Buffalo, New York on Dec. 30, 1872. He studied at the Buffalo Art Student's League then moved on to study in New York under Henry Reuterdahl and also apprenticed under William Auerbach-Levy. Wall began a career as a lithographic illustrator in 1889 working primarily as a commercial artist in New York and Buffalo. He soon became known as the "Postcard King" and designed over 5,000 comic cards. The year1915 marked a defining point in Wall's artistic career. Wall visited Colorado, Nevada and California making etchings of Indians, cowboys and major cities which were later published in a portfolio entitled, "Under Western Skies." These proved to be very successful and the artist shortly thereafter moved to California permanently. Wall continued to produce many fine etchings of the American West and by 1930 had also become a much respected historian of the region.Bernhardt Wall was unique in that he not only drew the etchings for his books, but he also printed and bound them. His books are in libraries and universities around the world including the British Museum, Library of Congress, the libraries of Harvard, Yale, Columbia, and Brown Universities. His works were also in the private collections of J. P. Morgan, Franklin D. Roosevelt, Henry C. Frick and Dr. N.C. Mathewson. Wall etched three sitting presidents of the United States, Theodore Roosevelt, Warren Taft, and Henry Coolidge. Other prominent individuals etched by Wall include Sam Houston, Mark Twain, Thomas A. Edison, Abraham Lincoln, and Andrew Jackson.Artist and historian, Bernhardt Wall (1872-1956) was a pioneer etcher and producer of fine press books who treated a vast array of subjects, including Texas and the Southwest. Historians of fine press printing have compared him to William Blake. This collection of Wall's scrapbooks, publications, and correspondence was built by collector Natalie Williams of Marshall, Texas.

Both cards 7 x 11 cm, printed in copperplate on one side only. Both in fair condition, on aged paper with a slight bloom. The Ambassador's card reads: 'Mr. Washburne, | Envoyé Extraordinaire et Ministre Plénipotentiaire | des Etats-Unis d'Amérique | [in bottom right-hand corner] 75, Avenue de l'Impératice, (Entrée 2, rue Spontini)'. The Ambassador's wife's card reads: 'Mrs. Washburne. | [in bottom left-hand corner] Mondays | from 3 to 6 P.M.' Washburne had served as Secretary of State for eleven days before being made Ambassador. His Illinois house is now a museum. From the papers of Sir William Hamilton (1788-1877), British Consul at Boulogne-sur-Mer from 1826 to 1873.

Tokyo, (Yin-yüeh-an), 1950, (4),6,19 (numb. in Chinese),(1 blank),(1) pag., text in Chinese with an introduction in English, the introduction signed with the seal stamp (tjap) of R.H. van Gulik and the colophon also signed with a greater seal-stamp of R.H. van Gulik (both in red ink), privately printed in a limited edition of two hundred copies. sewn and threadbound as a Chinese blockbook in black paper wrappers (22 x 13,8 cm.) with mounted paper title-label in Chinese characters on frontwrapper, as issued in original black cloth folded three-panel portfolio, cloth ties and bone (plastic?) clasps, 22,3 x 14,7 x 2,3 cm. = Very accurate re-edition of an extremely hard to find bibliophile publication by Robert Hans van Gulik, orginally privately published by him in Tokyo in 1950. Van Gulik discovered the manuscript dating from ca.1800 in the collection of a Japanese collector; the preface was dated 1639, the end of the Chinese Ming period. In his preface, van Gulik summarizes the plot as follows: "The plot of this story is simple, and a familiar one in Chinese literature. A distinguished young scholar roams alone in the mountains enjoying the scenery. Suddenly he comes upon a secluded abode, where two beautiful damsels, Miss Li and Miss T'ang, live in a luxurious mansion attended upon a bevy of maids. The girls entertain him at dinner, during which they exchange poems and songs. He stays there overnight and the three of them engage in amorous dalliance, which is described in detail. When dawn is near the cry of a cuckoo is heard over the roof. The young man wakes up and finds himself resting on a stone in the open air., between a plum tree and a crab-apple tree that are in full bloom; the girls and their abode have disappeared completely. Then the young man realizes that it was nothing but a dream, and that his beautiful companions had been elves, the spirits of the plum (li) and the crab-apple (t'ang) tree. The morning breeze showers him with their red and white blossoms as he goes his way, reflecting on the transitoriness of all earthly pleasure." This first reprinting resembles the true first edition so much that we could only unmask it as a reprint by having an original 1950 copy at hand to compare. The thin wove paper covered wrappers have been treated to look old (actually look more 1950 than the original 1950 wrappers), with a few small small holes and light wrinkles - they are made of thin black paper (1950: verged thin black paper) and mounted to a divisional title at the hinge (there is no divisional title - a blank leaf only - in the 1950 edition and wrappers not mounted; the paper looks newer with no age-spotting at all, only threadbound); the spine-ends or outer sections (or compartments) of the side-stitched bound book are covered in white silk in the 1950 edition - not in this reprint; the numbering in this reprint is done somewhat clumsily: the print-run consists of 200 numbered copies - our copy numbered "341" (perhaps was meant "143" from right to left?) and done in blue ink (original ed. in red ink). The cloth covered board slipcase however looks a bit too bright and new and lacks a mounted title label as the 1950 editon has. Title-page and first Chinese text-leaf with owner's Japanese 2 character stamp "Yamada" in blue.

2 parts in 1 volume, the first in 4 sections. Very rare first Dutch edition of this famous book on horticulture, including beautifully engraved plates of flowers organised according to the season in which they bloom and frontispieces showing the ideal garden. The work was first published in Latin under the following title: Hortus floridus in quo rariorum & minus vulgarium florum icones . (without text, published in Arnhem, by Jan Jansz. in 1614). The expertly engraved plates were also sold separately and were constantly updated and amended by adding various details (insects, other animals, or simply different numbers) to meet demand. While the present first Dutch edition contains short explanations of the plates on separate typographical leaves, the same information was only added to the Latin version of the work in its second edition (1616) - the corresponding text then appearing on the verso of each engraved plate. The text was written by Arnoldus Buchelius (or Aernout van Buchel, 1565-1641), a Dutch scholar and humanist from Utrecht who is now most known for specialising in genealogy and heraldry.This Dutch edition was soon followed by English and French editions. The Hortus floridus, including translations, was considered "without question the most popular florilegium ever published" (An Oak Spring Flora) and "Blunt calls this the most celebrated and influential of the early florilegia, and one of the finest" (Hunt).The emphasis of the plates is on the common garden flowers, with a preponderance of spring bulbs. The book was intended to provide inspiration for garden lovers who were invited to colour the black and white copperplate engravings themselves according to the colours they found in their own gardens. The introduction is enlarged with details on how to colour the plates. Many of the flowers shown are tulips, hyacinths, crocuses, and other bulb plants, mirroring the new enthusiasm and passion for bulbs, which eventually led to the tulip mania of the years 1636-37, when contract prices for some bulbs reached extraordinarily high levels leading to the first recorded speculative bubble in history.As the plates were printed, then modified and assembled at different times between 1614 and 1617, almost no two copies are the same - consisting of various numbers of plates, with different title pages and prefaces. Our copy seems to be a practically complete copy of the Dutch edition containing an unmatched number of plates, the only plate not present in this copy, which is sometimes included in others is the engraved plate (frontispiece) of the Latin quotation from Matthew, 6 "Cognoscite lilia " in part 2. The four sections of part 1 include 113 plates of flowers, including the 99 that are called for in the preface, organised per season: spring: 41; summer: 20; autumn: 26; winter: 12. The extra plates are as follows: (1): an addition to spring with plate (4)2 (= second copy of plate 2 of summer), (2): 12 plates depicting tulips numbered 43-54, and (3): an addition to autumn: a plate depicting two metal cylinders for growing flowers (1 with a tulip), not found in any other copy consulted, but possibly called for by Nissen "Garten Instruments".The second part includes 61 plates depicting 120 numbered depictions of fruits, fruit trees, and medical plants. This part, included in most copies of the Latin edition and in some of the Dutch edition, had been published already by Crispijn van de Passe the Elder around 1600-1604 when he was in Cologne, in association with the publisher Hans Woutneel.The quality of the engravings is exceptionally fine and delicate, representing real masterpieces of horticultural art executed by a leading family of engravers and publishers in the first half of the Dutch Golden Age.With a 19th-century round stamp with double eagle and the initials "H.C.P.S.G." and a red stamp "Ex libris J. Visser, Rotterdam" on the title page, with the red ex libris stamp also on the divisional title page of the second part. Lacking the engraved plate (frontispiece) of the Latin quotation from Matthew, 6 "Cognoscite lilia " in part 2. The binding is very slightly rubbed, the bottom outer corner of the back board is slightly damaged, the typographical leaves are slightly soiled, the head margin of the title page is cut short and restored with paper (lightly foxed), some very slight foxing and/or soiling throughout (mainly to the outer edges of the margins), some small marginal tears (some restored) in several leaves, plate 44 (spring) with a repaired tear, plate 43/44 in part 2 is repaired in the head margin. The verso of 45 plates show minute pricked holes in the leaf following the outlines of the depicted flowers and plants as a way of tracing the images on another leaf of paper or possibly another copperplate. Otherwise in good condition.l Franken (1881), no. 1346; Hunt, no. 199; Nissen, BBI, no. 1494; Oak Spring Flora, 12; Saunders, Picturing Plants, pp. 36-37; Savage, 'The Hortus Floridus', in: Transactions Bibiogr. Society, Second series, IV (1923), pp.181-206; Segal, Flowers and Nature (1990), pp. 165-166; Soultrait, 17th century, 226; STCN 308020359 (3 copies, incl. 1 incomplete); USTC 1022789 (4 copies, incl. 1 incomplete; 3 the same as STCN); cf. Veldman, Crispijn de Passe and his Progeny (1564-1670): a century of print production (2001), pp. 205-212. Later half calf, decorated paper sides, gold-tooled spine, and red sprinkled edges. With a full-page plate of Flora embracing the cornucopia in a landscape with an epigram by Arnoldus Buchelius in a cartouche in the left hand corner, engraved by Simon van de Passe after Crispijn van de Passe, 2 different frontispieces (both appearing twice) of ideal gardens full of flowers, and 174 full-page engraved plates of flowers, fruits, fruit trees, and medicinal plants, mainly by Crispijn van de Passe the Younger, 3 by his brother Willem van de Passe. Pages: [26] pp., [118] engraved ll.; [1], [1 blank] pp., [61] engraved ll.

from the folio edition of "Les Liliacées" by Pierre-Joseph Redouté (1759 - 1840) 21 x 14 inches sheet. Fine stipple-engraved plate in colors. L'imprimerie de Didot Jeune. Paris, 1802 - 1816. Annotation with names in Latin and French on lower half; legend below identifying Redouté as painter and de Gouy as engraver (tiny tears along left edge, toning consistent with age). The unequalled botanical artist Pierre-Joseph Redouté occupies a central position in the development of European flower painting. Dubbed the "Raphael of flowers," he produced over 2,100 published plates depicting more than 1,800 flower species over the course of his career, many of which had never been represented before. Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to Empress Josephine and her successor, Marie Louise. Despite many changes of regime in a turbulent epoch, he managed to work without interruption, a testament to his enduring appeal as an artist. His work represents a uniquely harmonious blend of scientific precision and supremely delicate rendering that has never been surpassed. The eight-volumed "Les Liliacées" is perhaps Redouté's most celebrated work, which he issued while under the patronage of the Empress Josephine, wife of Napoleon. This collection of 486 plates records the plants of the Lily family, and related flowers, that Josephine collected and cultivated in her magnificent gardens at Malmaison. Likely no more than 220 copies were produced (Brian Mathew, 8). The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. The edges of the leaves and petals were dotted as well so as to achieve softness of form. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complex printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. The present stipple engraving comes with full margins, a rare sight in existing Redoute works today. This engraving provides a true-to-life portraiture of the gorgeous North's Neomarica, otherwise known as Walking Iris, North's false flag, or Apostle Plant. This breathtaking flower is an unusual member of the Iris family. Its name, Neomarica, comes from the Greek words for new (neo) and the Roman word for nymph (Marica). It is a clumping perennial that originates from Brazil, and can be identified by its striking multi-colored petals and its long, pointed leaves. Its flowers bloom off and on in spring, summer, and fall, and thrive in dappled or bright shade. When growing, the weight of these flowers causes the plant's stem to bend to the soil, where the flowers take root and causes a new plant to grow. This fascinating method of self-propagation gives the illusion that the plant "walks around" the garden as it spreads, thereby earning it its other name, Walking Iris. The Walking Iris in the present composition floats elegantly in space, without background or setting. The regal simplicity of the composition allows the viewer to focus without distraction on the delicate complexity of the plant itself. The exotic beauty of the plant is marvelously rendered, with its finely detailed white, yellow, and blue petals that call to mind a cross between an orchid and an iris, and its tall and sword-shaped leaves. The main life-size illustration is accompanied by Redouté's small anatomical drawing of the flower's pistil placed below, which enables the flower to be identified with precision and cultivated to perfection. Reference: Brian Mathew, "P.J. Redouté: Lilies and Related Flowers," (London: 1981). Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invite.

Abbe Pluche (illustrator). 'HALF DUBBELE RENONKEL.'(Half Double Ranuncules.) This botanical engraving depicts a half double ranunculus, shown in two flowering states. The left figure presents a fully opened bloom with densely layered petals, accompanied by a smaller leaf study below. The right figure shows a slightly different blossom form, emphasizing variation in petal structure.Made by an anonymous engraver after Abbe Pluche.Medium: Etching / engraving on hand laid (verge) paper.Sheet size: 21 x 16 cm (8.27 x 6.3 inch). Image size: 19 x 13.3 cm. (7.48 x 5.24 inch).18E EEUW, HISTORISCHE PRENT, KOPERGRAVURE, INDUSTRIËLE GESCHIEDENIS, AMBACHTEN, WERKTUIGEN, TECHNIEK, MECHANICA, PRODUCTIEPROCES, WERKPLAATS, VAKMANSCHAP, VROEGE INDUSTRIE, TECHNISCHE ILLUSTRATIE, ENCYCLOPEDISCH, WETENSCHAPPELIJKE ILLUSTRATIE, HANDARBEID, MANUFACTUUR, PRE-INDUSTRIËLE REVOLUTIE, 18TH CENTURY, ANTIQUE PRINT, HISTORICAL ENGRAVING, INDUSTRIAL HISTORY, CRAFTSMANSHIP, TOOLS AND MACHINERY, TECHNICAL ILLUSTRATION | BOX-PLUCHEBACKGROUND INFORMATIONFrom a Dutch, 3rd. ed. of this work: 'Schouwtooneel der Natuur .', published by H. Gartman ao., 1799.Biography artist: Noel-Antoine Pluche (1688-1761), known as the Abbe Pluche, was a French priest. He is now known for his Spectacle de la nature, a most popular work of natural history. Condition: good, given age. Original folds as issued. Light soiling and creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Berolini (Berlin), 1788. Folio-size (35.8 x 22.2 cm) delicately hand-coloured loose lithograph of plants with printed caption. = The Pharmaceutica is a very rare work; it is seldom found complete and even individual plates of plants are rare. This plant has many common names: bittersweet, bittersweet nightshade, bitter nightshade, blue bindweed, Amara Dulcis, climbing nightshade, fellenwort, felonwood, poisonberry, poisonflower, scarlet berry, snakeberry, trailing bittersweet, trailing nightshade, violet bloom, and woody nightshade. Solanum dulcamara has been valued by herbalists since ancient Greek times. In the Middle Ages the plant was thought to be effective against witchcraft, and was sometimes hung around the neck of cattle to protect them from the "evil eye" (Wikipedia). This plate is in very good condition. A weak,diagonal fold in the lower left, otherwise clean: no spotting, creases, dents, tears or chips present. The colouring is precise and accurate. Nissen BBI, 784. Stafleu and Cowan (under 2834) "Not seen".

Alpine Violet and Red Calandrinia hand coloured botanical print 1874 This finely hand coloured botanical print from 1874 features two striking alpine plants, Viola obliqua and Calandrinia umbellata. It was published in London by George Bell and Sons as part of the second series of Alpine Plants, a renowned Victorian work celebrating the diversity and beauty of mountain flora through detailed lithographs and delicate hand colouring. At the top left is Viola obliqua, a charming violet species with deep purple petals and heart-shaped, textured leaves. Native to alpine meadows and woodland margins, it is appreciated for its rich colour and graceful habit. The illustration shows the flower in bloom with subtle shading and a naturalistic pose that gives it lifelike charm and depth. To the right is Calandrinia umbellata, a plant known for its intense magenta to crimson red flowers arranged in small clusters atop a slender, upright stem. Native to Chile and cultivated in rock gardens across Europe, it offers a vivid contrast with its vibrant petals and narrow, grass-like leaves. The hand colouring captures both the boldness of the blossoms and the soft gradients of each flower's interior. Lithographed and coloured by hand, this plate exemplifies the care and craftsmanship of 19th century botanical publications. The paper is thick and creamy with wide margins and only faint age toning. The colours are exceptionally strong, especially the purple of the violet and the ruby tones of the Calandrinia, which stand out against the neutral background. This print is ideal for framing and would suit a botanical-themed interior, a study or garden room. It also makes a refined gift for collectors of antique botanical art or floral enthusiasts. Condition summary and framing tips: Very good condition with vivid colours and minor edge wear. Perfect for framing with a soft cream or pale plum mat and a dark wood or bronze frame to enhance the rich tones of both the violet and red blossoms.

Spiked Speedwell and Alpine Catchfly hand coloured botanical print 1874 This elegant hand coloured botanical print from 1874 features two beautifully illustrated alpine plants, Veronica spicata and Lychnis alpina. It was published in London by George Bell and Sons as part of the second series of Alpine Plants, a classic Victorian work that blends scientific study with artistic excellence. On the left is Veronica spicata, commonly known as Spiked Speedwell. This hardy perennial is native to Europe and parts of Asia, thriving in meadows and dry slopes. It is known for its tall spire of vivid violet blue flowers and sharply toothed green leaves. The lithograph shows the plant in full bloom, with detailed shading and fine colour transitions that bring out the depth of each petal. To the right is Lychnis alpina, or Alpine Catchfly. Found in arctic and alpine regions, this low-growing species features delicate pink star-shaped flowers held above a neat base of lush green foliage. The name Catchfly refers to the sticky stems that were once believed to trap insects, although the plant is primarily cultivated today for its ornamental beauty and ability to thrive in rocky soil. Each lithograph in the Alpine Plants series was individually hand coloured after printing, making each plate slightly unique. The quality of the colouring on this print is exceptional, with strong contrasts and subtle natural tones. The paper is thick and has lightly aged to a soft ivory, with clean margins and only minimal signs of wear. This print is ideal for framing and would suit both classic and contemporary interiors. It makes a thoughtful gift for garden enthusiasts, botanical collectors or anyone who appreciates historical art focused on nature. Condition summary and framing tips:** Very good condition with crisp detail and natural toning. Recommended with a soft ivory or dusty rose mat and a light wood or silver frame to complement the flower colours and preserve the botanical charm of the artwork.

Victorian Triptych of Alpine Flowers from Alpine Plants by David Wooster 1874 This rare and visually striking triptych features three original hand-coloured lithographs from the celebrated 1874 publication Alpine Plants, edited by David Wooster and published by George Bell and Sons in London. This composition brings together three plates from the second series, each illustrating two meticulously depicted alpine flowering species, chosen for their visual contrast and botanical harmony. From left to right, the plates present the following pairs: Hyacinthus amethystinus and Dianthus carthusianorum, Androsace lanuginosa and Campanula alpina, and Linum alpinum and Epilobium obcordatum. These alpine species, gathered from diverse high-altitude regions, were favoured in Victorian horticulture not only for their hardiness and vivid coloration but also for their compact and ornamental forms that thrived in the popular rock gardens of the time. Here are the English names for the alpine species shown in the triptych: Left panel: 1. Hyacinthus amethystinus ? Amethyst hyacinth or Spanish bluebell 2. Dianthus carthusianorum ? Carthusian pink or clustered pink Center panel: 3. Androsace lanuginosa ? Woolly rock jasmine 4. Campanula alpina ? Alpine bellflower Right panel: 5. Linum alpinum ? Alpine flax 6. Epilobium obcordatum ? Rockfire or obcordate willowherb Each flower has been lithographed with scientific precision and then delicately hand coloured to enhance its lifelike appearance. The technique used in this series required a high level of craftsmanship, and every print is slightly unique due to the hand-applied pigments. The images are printed on thick, creamy paper with generous margins, a hallmark of quality botanical publications of the 19th century. David Wooster, a prominent botanist and garden writer, was known for his accessible and visually rich documentation of ornamental and alpine plants. His role as editor of this volume helped make the diversity of mountain flora more widely appreciated, particularly among amateur gardeners and collectors. Alpine Plants was an ambitious attempt to combine aesthetic appeal with botanical education, and the result remains one of the most beautiful Victorian flower books. The selection of species in this triptych showcases a palette of violet, lavender, rose pink and soft blues, balanced by a range of green leaf forms from spiky to rounded. Each plant is shown at peak bloom with roots and soil minimally suggested, allowing the floral structure and colouration to take visual precedence. This work is ideal for framing as a unified horizontal set or displayed vertically in columnar format, depending on the space and aesthetic preference. It is a superb acquisition for collectors of antique botanical art, lovers of Victorian design, or anyone seeking refined natural beauty for their interior. Condition and framing suggestion: All three prints are in very good condition with strong original colour, light edge toning, and clean margins. For best display, use pale ivory or light sage matting with a warm wood or brushed gold frame to enhance the antique tones and botanical detail.

Antique Botanical Print ? Orchid Odontoglossum Hybridum Leroyanum, c.1888 A striking and rare botanical print of Odontoglossum (Hybridum) Leroyanum, featuring a vibrant red and white orchid hybrid, from the monumental 19th-century work Reichenbachia: Orchids Illustrated and Described (1888?1894). This hand-colored lithograph captures the exotic charm of a hybrid Odontoglossum, a genus celebrated for its floriferous displays and bold color patterns. The orchid is illustrated in full bloom with an arched inflorescence bearing a long succession of richly marked flowers. Each blossom is composed of deep crimson-red petals with ivory margins and intricate spotting, radiating from a golden-yellow and maroon central lip. The flowers are arranged along a slender, arching stem that extends horizontally across the composition, balancing the upright cluster of green pseudobulbs and graceful foliage at the right. Signed by botanical artist Henry Moon (1857?1905) in the lower left, this image is one of the many plates he contributed to *Reichenbachia*, commissioned by the famed orchid collector and nurseryman Henry Frederick Conrad Sander. Lithographed by Joseph Mansell of London, this print exemplifies the high level of technical and artistic excellence that defined the *Reichenbachia* series?considered the finest orchid publication of the Victorian era. The hybrid nature of *Odontoglossum Leroyanum* reflects the period's fascination with orchid breeding, which was reaching new heights during the late 19th century. This image not only conveys the botanical qualities of the orchid but also its decorative potential, making it an excellent choice for collectors, connoisseurs, and those with a passion for rare and vibrant botanical art. Condition report: Very good condition. Light age toning near the edges; a few faint margin spots. Image area clean, colors vivid. No tears or repairs. Blank verso. Framing tips: Frame in a dark wood or burgundy-toned frame to echo the flower's rich red hues. Use a cream or soft olive mat to draw attention to the detail and curvature of the composition. Technique: Hand-colored lithograph Maker: Joseph Mansell after Henry Moon, London, c.1888?1894 Alternative 80-character title: Red and White Orchid Print ? Odontoglossum Hybridum Leroyanum, c.1888.