Feathers Brush

ELLIOT, Daniel Giraud (1835 -1915): A Monograph of the Bucerotidae, or Family of the Hornbills,

[New York]: printed by Taylor & Francis of London, published for the subscribers by the author, 1877-1882. 1 volume bound from the ten original parts, folio. (14 3/4 x 11 1/8 inches). 60 lithographic plates printed by M. & N.Hanhart (comprising: 57 plates by and after John Gerrard Keulemans, all hand-coloured by Mr. Smith, 3 uncoloured plates by and after Joseph Smit). Near-contemporary green half morocco, spine in six compartments with raised bands, lettered in gilt in the second and third, date in gilt at foot of spine, original brown paper wrappers to all ten parts bound at the back, top edge gilt. A fine copy of the first edition of this 'comprehensive treatment of the entire family of hornbills' (Zimmer) from the one of the best known American ornithologists of the second half of the nineteenth century, with illustrations by Keulemans, the most popular ornithological artist of the period. This is the important first monograph on this widely scattered family of extraordinary birds. "The Bucerotidae are pretty equally divided at the present day between the Ethiopian and Oriental Regions, the first having twenty-seven and the latter twenty-nine species, while but a few... are scattered about the islands of the Malay archipelago" (introduction). Hornbills are extraordinary not only for their physical appearance but also for their behavior - the most noteworthy shared trait amongst the species is the male's habit of "enclosing the female in the hollow of some tree, firmly fastening her in by a wall of mud, and keeping her close prisoner until the eggs are hatched" (introduction). The male will feed the female through a slit in the wall whilst she incubates the eggs. She will only break through the wall of mud and leave the nest once the young have hatched, at which point the wall is rebuilt and remains in place until the young are ready to fly. The bizarre beauty of this species is here ably captured by Keulemans highly accurate and beautifully observed plates. Keulemans was born in Rotterdam, Holland, in 1842, but worked and lived chiefly in England, working on most of the important ornithological monographs and periodicals published between about 1870 and his death in London in 1912. He was 'undoubtedly the most popular bird artist of his day as well as being the most prolific. He was gifted with a superb sense of draughtsman-ship and revealed his considerable versatility in capturing the significant subtleties of color, form, and expression in the birds... represented in his various illustrations' (Feathers to brush p. 47) BM(NH) I,p.522; Fine Bird Books (1990) p.95; T. Keulemans & J. Coldewey, Feathers to brush... John Gerrard Keulemans, 1982, p.61; Nissen IVB 297; Wood p.331; Zimmer p.207

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Flora Magazine - For Flower Arrangers and Gardeners: Autumn 1978, London Stanley Gibbons 1978
Very Good

Features: Autumn in the garden; Back to school; Halloween Party; Colour it Bronze; Ayletts Dahlia Festival; Bamboo as a traditional Chinese Brush Painting; how to preserve dahlias; Flowers at Harewood House; Flowers through the ages; Collecting books on flower arranging; Autumn candles; how to grow Hippeastrum; have a spring garden indoors this winter; Isla Gladstone Prints; A Flower Arranger visits Bangkok; Floral Feathers; Relaxing under glass; Growing unusual climbers indoors; and more. Clean and unmarked with light wear. Nice copy. Stapled 4to - over 9¾" - 12" tall

[SW: Flora Magazine - For Flower Arrangers and Gardeners: Autumn 1978 Autumn in the garden; Back to school; Halloween Party; Colour it Bronze; Ayletts Dahlia Festival; Bamboo as a traditional Chinese Brush Painting; how to preserve dahlias; Flowers at Harewood House; Flowers through the ages; Collecting books on flower arranging; Autumn candles; how to grow Hippeastrum; have a spring garden indoors this winter; Isla Gladstone Prints; A Flower Arranger visits Bangkok; Floral Feathers; Relaxing under glass; Growing unusual climbers IndoorsMagazine Back Issues]

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MUSTARD SEED GARDEN.. CHIEH TZU YUAN HUA CHUAN: MUSTARD SEED GARDEN.
CHINA'S MOST FAMOUS AND VALUABLE WORK ON COLOR PAINTING Compiled by Chen Yin-po. Artists: Wang An-chieh, Wang Mi-ts' ao & Wang Ssu-chih. This is the most important book on the art of Chinese painting. Originally published in 1679-1818, was basically a set of several numbered "books" within, each devoted to a different topic. * This edition was nicely colored woodblock printed with soft, delicate pastels. The work begins with the Six Principles, standards and the rules of painting: The Six Canons, Six Essentials, Three Faults, Twelve Things to Avoid, Three Classes, divisions of schools &c., notes on the preparation of colors and materials. Contains 4 volumes devoted to flower and birds, fruit trees, leafs, foliage & brush strokes. Volumes 5 and 6 are devoted to the Jen-wu or human figures, houses, architecture, animals, birds, structures, city walls, towers, pagodas, bridges and waterfalls, drawings by square & rule, furniture & furnish- ings, of feathers, fur & flowering plants. * Essays upon the use of mineral blue, green, vermilion, deep vermilion, gold paste, cock yellow, white, rouge red, soot black, indigo, rattan yellow, umber, mixing colors and the use of ink, applying alum on silk and on colors. This work is printed on double folded woodblock printed leaves, each stitched at the spine with silk thread. By and large all in very good condition. * For a valuable English account of this with much det- ail see: Mai-Mai Sze: THE TAO OF PAINTING: A Study of the Ritual Disposition of Chinese Painting, a translation of the Chieh Tzu Yuan Hua Chuan, or Mustard Seed Garden Manual of Painting. This gives the exact contents of each book as well as color examples, bibliographic data [see below] &c. * A very early Japanese edition in 6 volumes known in Japan as the KAISHIEN GADEN, and treasured there. It is quite difficult to find this work in its complete state, as most sets have been separated and many illustrations extracted and framed separately. A major artistic contribution to the study of Chinese painting, landscape, flower, figures & the inspiration for the Japanese to begin color woodblock printing for their Ukiyo-e period. This work has been used by students since 1679 as a lesson and guidebook on the art of Chinese brush painting and is still now in use some 300 years later. * Known as the classic on Chinese painting and China's valuab- le single work on the subject. A MOST BEAUTIFUL WORK, ALWAYS RARE ! * BIBLIOGRAPHY: K. Toda: THE RYERSON COLLECTION OF JAPANESE & CHINESE BOOKS. p.406-410 for more notes & details. * Y. Yonezawa et al.; JAPANESE PAINTING IN THE LITERATI STYLE, p.170-190. * Mai-Mai Sze: THE TAO OF PAINTING: A Study of the Ritual Disposition of Chinese Painting, a translation of the Chieh Tzu Yuan Hua Chuan, or Mustard Seed Garden Manual of Paint- ing. * S. Edgren: CHINESE RARE BOOKS IN AMERICAN COLLECTIONS p.118 no. 37. J.Hillier: THE JAPANESE PICTURE BOOK: A Selection from the Ravicz Collection, p.17, plate 3. * Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. !! WARNING: The above * * * * SHIPPING: WE SHIP WORLD WIDE * * * * * The shipping costs displayed for our books on ZVAB are ONLY AN ESTIMATE !!! * ACTUAL costs are based book weight, destination and value. * We will inform you of shipping costs and options once you select the book. **FOREIGN: We usually ship by registered/insured airmail to customers abroad. **DOMESTIC: We ship to USA customers by UPS/FEDEX or U.S. MAIL, appropriate insurance/registry and signature required will appply. ***** Please inquire if you have any questions regarding shipping or payments .

Hunan 1748, Pingan. Yellow stitched stiff wrs., very good, 6 volume set, 17.8 x 27.5 cm., 81 color,124 b.w. woodblock il- lustrations, cover title slips, some are chipped, contents clean, bright & solid, in indigo Chitsu cloth folding case.

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MIVART, St. George Jackson (1827-1900) - John Gerrard KEULEMANS (1842-1912): The Lory of Jobie; The Lory of Rubie [Pl. XVIII]

[London: R.H.Porter, 1896]. Lithograph, coloured by hand, by Keulemans. Very good condition apart from some overall light soiling and a slightly brownish tint to the paper due to age. 12 1/2 x 10 inches. A beautiful and lively image from one of the greatest ornithological artists of the late 19th century. John Gerrard Keulemans was the most sought-after bird artist of the late 19th and early 20th centuries. A prolific and highly talented illustrator, he worked largely from prepared specimens producing pleasing compositions but with subjects that were always anatomically accurate. The present image is from A Monograph of the Lories, or Brush-tongued Parrots (London: 1896), a work that according to Sacheverell Sitwell (writing in Fine Birds Books) included Keulemans 'best work'. The artist shows a masterful grasp of composition, balancing the need to show the birds in characteristic pose, whilst giving the maximum amount of information about the beautiful plummage that is so typical of the Loriidae family, but without losing sight of the importance of retaining the harmony of the image as a whole. The author, Mivart, describes the Loriidae family as 'a very attractive group of rather small birds' varying 'from the size of a Turtle-Dove to about that of a Sparrow', and consisting 'of 75 more or less distinct species. The family is remarkable for its brilliancy and gay coloration', and its friendliness: 'Some of them will spontaneously approach human dwellings, and most of them make excellent pets'. Their feeding habits are a special feature: 'The lories are very choice feeders, living as they do on the nectars and pollen of flowers. Their tongue is very remarkable, as it is formed as a kind of brush, which is no doubt destined to extract the nectar'. Cf. Fine Bird Books (1990) p.94; cf.T.Keulemans & J.Coldewey. Feathers to Brush p.64; cf.Nissen IVB 640; cf.Wood p.468; cf.Zimmer p.439

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