cook john webber (12 Ergebnisse)

Oxford University Press 2000 Bound, hardcover with original dustjacket, xv+224pp., 16.5x24cm., in very good condition. ISBN 9780195132984. This provocative study exposes the ways in which Wittgenstein's philosophical views have been misunderstood, including the failure to recognize the reductionist character of Wittgenstein's work. Author John Cook provides well-documented proof that Wittgenstein did not hold views commonly attributed to him, arguing that Wittgenstein's later work was mistakenly seen as a development of G. E. Moore's philosophy--which Wittgenstein in fact vigorously attacked. He also points to an underestimation of Russell's influence on Wittgenstein's thinking. Cook goes on to show how these misunderstandings have had grave consequences for philosophy at large, and proposes that a more subtle appreciation of linguistic philosophy can yield valuable results.

Zustand: Very good. Stipple engraving, oval 120 x 95 mm, printed in sepia; a proof before letters; mounted. Rare proof impression before letters of John Webber's and Francesco Bartolozzi's fine oval portrait of Captain Cook. This portrait has a very large margin, unusual for this decorative oval shape, which is perhaps more often seen clipped to fit an oval frame. The original portrait of Cook was painted by Webber in 1776 and has been in London's National Portrait Gallery since 1858. Webber had collaborated with Bartolozzi earlier in 1784 to execute his famous depiction of the death of Cook, and the relationship was evidently a happy one, as they also issued the rare oval version of the depiction of Cook's death as well as this portrait. It is fair to say that the original painting of Cook has not met with universal acclaim: Beaglehole claims that on first viewing Mrs Cook exclaimed 'Who is that low villain?' (Beaglehole, On the Character of Captain James Cook, p. 418). Born in Florence in 1728, Bartolozzi arrived in 1764 in England where he worked for the next three decades. He introduced the vogue of "stippled" engraving and this portrait is a particularly good example of his work. .

Engraving, 253 x 533 mm. to plate mark, paper size 290 x 540 mm.; a little light old creasing at right side; in fine condition. Rare proof impression of one of the most atmospheric views made by Webber to illustrate Cook's third voyage: the St Peter and Paul ostrog as seen during the expedition's first visit to Avacha Bay. This wonderful panorama of St Peter and St Paul, with Cook's ships at anchor in the bay, would later appear as plate 74 in the atlas to the official account of the third voyage. Webber's image depicts the small Kamchatkan settlement with its inhabitants fishing in front of their distinctive dwellings, all in an untouched landscape with wooded coastline and distant snow-covered mountains. It offers an arcadian vision of the place wildly at variance with what it would become: modern Petropavlovsk-Kamchatsky, now a major commercial port and the home of Russia's nuclear submarine fleet. It was at St Peter and St Paul that the battered vessels called in late April 1779, and here that Major Behm agreed to take the news of Cook's death overland to St. Petersburg. This is an early state of the print, before letters. The temporary credits here scratched into the plate are differently worded to the final version that would appear in the publication: here there is no caption identifying the view and the image is identified as "Drawn from Nature by J. Webber" and "Engraved by B.T. Pouncy". In the finished version these would be differently expressed as "J. Webber del." and "B.T. Pouncy sc.". The proof engraving is printed on a noticeably different paper and its inking is distinctly finer than the examples of the finished version with which we have compared it. The result is a greater tonal quality. Joppien and Smith discuss the Kamchatkan visit at some length in both text and catalogue volumes of their study of the art of Cook's third voyage. In their description of the related watercolour view now in the Dixson Library in Sydney they note that the original version has probably been lost and that the Dixson watercolour is probably related to the engraving process. This is a desirable and rare version of one of Webber's most successful images from Cook's third voyage. ` .

Copper engraved portrait of a native Alaskan woman in traditional garb, head and shoulders. Folio sheet, 7 x 10 with very wide margins. Light fox spotting and marking outside the image, otherwise good + condition.

Copper engraved portrait of a native Alaskan man in traditional garb, head and shoulders. Light fox spotting and marking outside the image, otherwise good + condition. Folio sheet, 7 x 10 with very wide margins.

Zustand: Good condition. From Hogg's Geography, a pair of portraits of natives in traditional garb, head and shoulders. Some light fox spotting. Each measures 5 x 7" and is tipped on to a plate out of Hogg's Geography, 'View of Matavia Bay in Otaheite'.

Copper engraved view from the folio atlas to Captain Cook's third voyage, this classic view of the natives and their dwellings in Nootka Sound. Light general foxing around edges, slightly visible inside the impression line, otherwise good + condition.

Zustand: Very good condition. Copper engraved views of natives in traditional garb tending their kayaks at the water's edge. 15 x 9 1/2".

Copper engraved image of a polar bear on ice, from an account of the last voyage of Captain Cook. Very good + condition, extra wide margins. 9 3/4 x 8".

Print. Zustand: Very good condition. First printing. The separately published image by Webber of one of the iconic images of the 18th century. Cook, already a successful navigator, was immortalized after his death at the hands of Hawaiian natives at Karakakoa Bay. Cook had spent two months on the Big Island in 1779 and was well received, the natives believing he was a god. When he was forced to return due to a damaged mast, he was viewed as a mortal who had already sorely stretched the supplies of the Hawaiians. It is also thought that his handling of the natives was uncharacteristically brusque, leading to conjecture that this consummate traveler's judgment was somehow impaired. Copper engraving, published as the Act Directs 1st Jan. 1784, by J. Webber, No. 312, Oxford Street, and W. Byrne, No. 19, Titchfield Street, London. 22 3/4 x 18 1/4" image size. A very crisp impression on laid, watermarked paper. With the impression mark. A very nice bright clean copy of an important separately published engraving. Some cracking of edges outside the impression mark restored and the print is laid on archival paper.

Print. Zustand: Very good condition. First printing. The separately published image by Webber of one of the iconic images of the 18th century. Cook, already a successful navigator, was immortalized after his death at the hands of Hawaiian natives at Karakakoa Bay. Cook had spent two months on the Big Island in 1779 and was well received, the natives believing he was a god. When he was forced to return due to a damaged mast, he was viewed as a mortal who had already sorely stretched the supplies of the Hawaiians. It is also thought that his handling of the natives was uncharacteristically brusque, leading to conjecture that this consummate traveler's judgment was somehow impaired. Copper engraving, published as the Act Directs 1st Jan. 1784, by J. Webber, No. 312, Oxford Street, and W. Byrne, No. 19, Titchfield Street, London. 22 3/4 x 18 1/4" image size. A very crisp impression on laid, watermarked paper. Without the impression mark, with an archival border added to aid in framing. A very nice copy of an important separately published engraving.

Oval engraving, 350 x 265 mm. (image size); mounted. Rare variant of the famous engraving of Cook's death showing, as the caption notes, "Part of the Original Plate after Webber" and presumably quite literally printed from an oval cut from the fuller engraved copper. This is only very rarely seen: the single example noted by Joppien and Smith was in the British Museum. The full-size engraving was first issued early in 1784. Based on the oil painting executed by Webber soon after he returned to London in 1780, the figures were engraved by Francesco Bartolozzi and the landscape by William Byrne. Quickly becoming the most famous of all eighteenth-century depictions of the massacre, the view appeared at about the same time as the official third voyage account was published. This was no coincidence: although lavishly illustrated by Webber, the official account did not include any depiction of the most famous scene of the entire voyage, the death of Captain Cook. As a result, the iconic engraving is often seen bound into extra-illustrated editions of the third voyage account. Reflecting the general opinion prevailing in published accounts of the voyage, the original image, as Joppien and Smith argue, appeared to show Cook as 'an innocent victim, killed in the act of pleading for peace'. This is here heightened by the changed composition, as the oval shape dictates a radically different impact to that of the original engraving, omitting the dramatic conflict between the British sailors and the Hawaiians and thus implying a scene in which Cook, his arm raised in supplication to his men offstage, stands alone and is overwhelmed by a seething crowd. The only copy noted among Australian holdings appears to be the heavily clipped copy in the National Library of Australia, part of the Nan Kivell collection. . Small crease in lower corner, in good condition.