African Scenery and Animals
A Facsimile Reprint of the Aquatint
Plates Originally Published in 1804-5
von Samuel Daniell, Einführung von Frank R. Bradlow
Gebundene Lederausgabe, kein
Schutzumschlag, limitierte Auflage von 550 numerierten Exemplaren 1-550, signiert von Frank Bradlow, 147
Seiten, Farbillustrationen auf 30 Tafeln A.A. Balkema Publishers
(Südafrika/Niederlande), 1976, ISBN 0-86961-081-3
Faksimile-Nachdruck von African Scenery
and Animals at the Cape of Good Hope (England, 1804/05).
Synopsis: "Samuel Daniell's folio
album of plates, African Scenery and Animals at the Cape of Good Hope, was the first of the great
colour-plate books produced about southern Africa. It preceded William Cornwallis Harris' Portraits of the Game and Wild Animals of Southern Africa - the second of these albums -
by some thirty-five years. Daniell's splendid atlas folio album differs in important respects from nearly
all its great successors; the main difference arises from its early date of publication (preceding the first
British occupation of the Cape) and it thus belongs to an historical era in which the British were not
firmly established, and records a different milieu from those that followed. Another difference arising from
its early date of publication is that its thirty plates were produced by the aquatint process, whereas those
of later albums (Cornwallis Harris, George French Angas, etc.) were produced by lithography. It is also
unique because on all the prints is printed the fact that they were drawn and engraved by Samuel Daniell; in
other words Daniell was not only the artist who made the original drawing or painting after which the
eventual print was produced, but was also the graphic artist who copied the original onto a metal plate from
which the print was produced. Illustrations include: The Korah Hottentot Village, Bush-Men Hottentots Armed
for an Expedition, The Gnoo, The Koodoo, A Boosh-Wannah Hut, The Pallah, The Hippopotamus, The Military
Station at Algoa Bay, The Quahkah, A Boor's House, The Spring-Bok or leaping Antelope, The African Hog,
Bosjemans Frying Locusts, View of a Lion's head, The African Rhinoceros and more. Most illustrations take up
a full page with the border.
Samuel Daniell was the nephew of Thomas Daniell and younger brother of William, the two artists who produced
an extraordinary record of native African life and landscape in the late eighteenth century. Samuel Daniell
arrived at the Cape in December 1799 at the age of twenty-five, and in 1801 was appointed as the secretary
and draughtsman for an expedition to Bechuanaland in search of cattle to relieve the shortage of food at the
Cape. Under the direction of P.J. Truter and William Somerville, the expedition left Cape Town on October 1,
1801 and returned on May 6, 1802. On this journey Daniell continuously sketched the people and natural
history he encountered en route, and after returning to Britain, he used these sketches to produce thirty
aquatints for his magnificent folio, African Scenery and Animals at the Cape of Good Hope, with the
assistance of his brother and uncle. It is still considered to be one of the great plate books of the
nineteenth century. After its publication in 1804-5, Daniell left for Ceylon where he died in 1811 at the
age of 36. Daniell's acute ability to closely observe people and animals has seldom been equalled in the
history of southern African art. Occasionally he inscribed his drawings with the identity of the subject and
a date. For those uninscribed drawings it is usually possible to identify Tswana (Booshuana) and Xhosa
(Kaffir) subjects on the basis of dress and material culture. However, in other instances where he did not
annotate his sketches, it is difficult, with any accuracy, to conclude if the subjects were San (Bushmen),
Khoisan (Hottentots) or Korah. This is because these social groups all lived in close proximity in the
Orange River region where Daniell stayed for a period of about three months on the return journey in 1802.
Daniell worked in the context of the European mindset that sought to categorise and label everything
encountered on travels in foreign lands, be they plants, people or animals. But two centuries later, now
that there is a willingness to acknowledge the fluid dynamics between neighbouring communities, and lessen
the emphasis on ethnic stereotyping, it is possible to see his images as sensitive portraits of people from
a region rather than as types of different tribes."
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Africana Animals
von Mike Nicol (Text),
Illustrationen von Thomas Baines (1),
William Cornwallis Harris (1), R.T. Günther (2), William Paterson (21) & Andrew Smith (2)
Einführung: "These days every
thinking person realizes that there are some things on our beautiful planet which won't last forever. A
change of climate can make a species or type of animal extinct. Take the dinosaurs: you won't find any of
them around today because the conditions they needed to live in have changed. But that change has brought
about the development of other types of animals, and one of these types is man himself. In the last century
man has done a great deal of damage to his environment. He has polluted the air and water, and he has used
up some natural resources and caused them to disappear. Last century the gentlemen hunters and explorers and
the trekboers saw so many wild animals on southern Africa's plains that they killed more than was necessary.
Because of their unthinking ways three species, the quagga, the Cape lion, and the bluebuck, became extinct
and the numbers of many other animals were reduced to alarmingly low levels. Today most of us realize that
conservation of our wild animals and plants is essential if we are to keep southern Africa as wonderful as
it is. This book will introduce you to some of the lesser-known of our animals - from that point of view it
is a different type of book from the usual one you might find on wildlife. And it has another unique aspect:
almost all the illustrations were done by artists who bravely travelled the country, most of them as long as
two centuries ago. When one remembers the difficult circumstances under which those men had to work and
travel, then one must agree that it is quite an achievement for them to have got their drawings as accurate
as they did. One such traveller, William Paterson, writes in the winter of 1778: »This night we passed very
disagreeably and were in much danger, having no fire nor fire arms. We heard the whole night the howling of
Hyenas and next day saw the print and dung of Tygers [leopards] which had been within ten yards of us... the
mountains round us were covered with snow.« Nearly all of the illustrations come from the privately owned Brenthurst Library
which was started by Sir Ernest Oppenheimer early this century and is now being added to by his son, Mr.
Harry Oppenheimer. These original paintings are all highly treasured pieces of Africana and are as much part
of our heritage as our beautiful scenery, plants and wild animals. Often, when people talk of conservation,
they mention only wild creatures but preserving our cultural links with the past is also a very valuable
part of the conservation ideal. We must do our best to conserve pieces of our history - records such as
paintings, drawings, writings, as well as old buildings - because amongst other things they make our lives
more interesting and fulfilling. This book links the past with today and shows why it is important to
conserve our heritage if we are to keep our environment an exciting place for the generations of
tomorrow."
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Limited Edition
The Animal Art of Wilhelm Kuhnert
The Complete Collection of Etchings
and Engravings
von Wilhelm Kuhnert (Illustrationen) & Herrmann Hirzel (Text), Charles Wechsler (Redaktion), Vorwort
von Terry Wieland
Gebundene Ausgabe, 184 Seiten,
Farbillustrationen auf 32 Tafeln, 135 Schwarzweißillustrationen
Live Oak Press & Wildlife Art Magazine
(USA), 1995
Englische Ausgabe von Meine Tiere: Die
Radierungen Wilhelm Kuhnerts (Deutschland, 1925).
Synopsis: "To many art historians, he
was the greatest animal painter - ever. As a young artist in his native Germany, he dared to be different
from his contemporaries; instead of sketching animals behind bars at local zoos, he sailed off to distant
Africa where he would ultimately devoted several years to studying and painting wild creatures under the
sweltering tropical sun. Today, nearly 85 years since his death, this publication stands as the first book
ever published in English to chronicle the life and work of the great German artist. And while it features
over forty color plates of his greatest paintings, the heart of this book is its chapter on drypoints and
etchings - the first time that Kuhnert's entire output of engravings has been assembled in one
publication."
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Ebenfalls veröffentlicht als Limited
Edition (limitierte Auflage von 2300 numerierten Exemplaren 1-2300, ganz in Leder gebunden, Schuber).
Baines on the Zambezi, 1858 to
1859
The Brenthurst Press First Series
Vol. 8
von Edward C. Tabler (Text), Eric Axelson (Text) & Elaine N. Katz (Text), Thomas Baines (Illustrationen)
Gebundene Ausgabe, limitierte Auflage von
850 Exemplaren (Standard Edition), 252 Seiten, 62 Farbillustrationen, über 60
Schwarzweißillustrationen, 4 Karten The Brenthurst Press
(Südafrika), 1982, ISBN 0-909079-17-X
Klappentext: "In 1858 the famed missionary-explorer Dr. David
Livingstone led an expedition, sponsored by the British government, to investigate the navigability of the
Zambezi River. Artist and storekeeper to the venture was Thomas Baines whose diary of 1858 is published here
for the first time together with related correspondence. The text is illustrated with over a hundred of
Baines's pencil and water-colour sketches, many of which have not been reproduced before. It was hoped that
the Zambezi River would prove to be a major waterway, thus providing access through Portuguese-occupied
territory to the uncolonized interior of south-central Africa. There, by the introduction of christianity
and trade, Livingstone dreamt that the illicit slave trade could be brought to an end. Part of the
expedition's equipment was a steam-launch - named the MaRobert - which was transported in three
sections from Britain for assembly at the mouth of the Zambezi. Despite this and other examples of ingenuity
and planning, members of the group were ill prepared for the debilitating climate and unfamiliar terrain,
the effects of fevers on them, the difficulties of coping with the river's navigational hazards, and the
poor inter-personal relations of the senior members of the party. While the journey did result in
Livingstone's 'discovery' of Lake Malawi and the opportunity to further British influence and trade in
south-central Africa, it nevertheless proved a failure in that the Cahora Bassa Rapids were found to block
the route to the interior. The steam-launch too did not live up to expectations and gradually became known
as the 'Asthmatic' as she sluggishly inched her way up the river. Baines, one of the victims of personality
clashes, was dismissed by Livingstone with accusations of dishonesty levelled against him. While evidence
seems to indicate Baines's innocence, he was never to receive a fair trial or hearing."
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Ebenfalls veröffentlicht als De Luxe
Edition (ISBN 0-909079-18-8, limitierte Auflage von 125 numerierten Exemplaren
1-125, ½ in Leder gebunden, Schuber) und als Presentation Edition (ISBN 0-909079-18-8,
limitierte Auflage von 25 numerierten Exemplaren A-Y, ganz in Leder gebunden, Schuber).
The Brenthurst Baines
A Selection of the Works of Thomas
Baines in the Oppenheimer Collection
The Brenthurst Press First Series Vol. 1
von Marius Diemont (Redaktion) & Joy Diemont (Redaktion), Thomas Baines (Illustrationen),Vorwort
von Harry F. Oppenheimer
Gebundene Ausgabe, limitierte Auflage von
850 Exemplaren (Standard Edition), 183 Seiten, Farb- & Duotonillustrationen The Brenthurst Press
(Südafrika), 1975, ISBN 0-909079-01-3
Synopsis: "This is the first volume
to be published in the celebrated Brenthurst Series. The reproductions in this book are from Baines'
African Collections (unpublished)."
Out-of-Print! Dieses Buch wird vom Herausgeber nicht mehr geliefert!
Suchen Sie dieses Buch bei Bwana Mitch's Partnern Abebooks.com (Kanada) oder Abebooks.de (Deutschland).
Ebenfalls veröffentlicht als De Luxe
Edition (ISBN 0-909079-02-1, limitierte Auflage von 125 numerierten Exemplaren
1-125, ½ in Leder gebunden, Schuber) und als Presentation Edition (ISBN 0-909079-02-1,
limitierte Auflage von 25 numerierten Exemplaren A-Y, ganz in Leder gebunden, Schuber).
De Luxe Edition
François Le Vaillant: Traveller
in South Africa
and his collection of 165
water-colour paintings, 1781-1784
von J. C. Quinton (Redaktion) & A. M. Lewin Robinson (Redaktion),
Illustrationen von François Le
Vaillant, Johann Lebrecht Reinold u.a.,
Textbeiträge von Matthys Bokhorst, Vernon S. Forbes, P. G. Jordaan, Percival R. Kirby, Ronald B. Lewcock,
A. M. Lewin Robinson, Jurgens Meester, Margaret Shaw, S. H. Skaife, Dirk Visser & J. M. Winterbottom
Gebundene Ausgabe, 2 Bände, kein
Schutzumschlag, limitierte Auflage von 2250 numerierten Exemplaren (Standard Edition 251-2500)
Volume I (ISBN 0-621-00579-7): 336 Seiten, 78 Farbillustrationen (davon 77 ganzseitig auf Tafeln), 12
Schwarzweißillustrationen (davon 6 ganzseitig), 5 Schwarzweißfotos, 2 Faltkarten
Volume II (ISBN 0-621-00580-0): 378 Seiten, 96 Farbillustrationen (davon 95 ganzseitig auf Tafeln), 7
Schwarzweißillustrationen (davon 3 ganzseitig) Library of Parliament
(Südafrika), 1973, ISBN 0-621-00576-2 (Set)
Synopsis: "François Le Vaillant was
born of French parents in Paramaribo in Dutch Guiana in 1753 and saw France for the first time only at the
age of ten. His interest in ornithology was early aroused, and as a young man in his mid-twenties he
determined to travel and collect specimens in foreign parts. He sailed for the Cape of Good Hope from the
Texel in December 1780, arriving in Table Bay on the 14th April in the following year. The story of his two
journeys during the years 1781-4, the first eastward and the second northward from the Cape, is told in his
two works of travel, Voyage de M. Le Vaillant dans l'intérieur de l'Afrique, par le Cap de
Bonne-Espérance, Dans les Années 1780, 81, 82, 83, 84 & 85 (1790) and Second voyage dans
l'intérieur de l'Afrique, par le Cap de Bonne-Espérance, dans les années 1783, 84 et 85 (1794-5). In
1963 the Library of Parliament in Cape Town acquired a unique collection of 165 original water-colour
paintings made under the direction of Le Vaillant and illustrating these journeys into the interior of the
Cape of Good Hope. The collection was received in a portfolio bearing the bookplate of L. V. Ledeboer of
Rotterdam, a well-known collector for many years during the nineteenth century. There is no doubt that a
number of different hands were responsible for the paintings, but from internal evidence is concluded that
no fewer than 23 are the work of Le Vaillant himself. Briefly these paintings can be regarded as falling
into the following four categories: topographical 31, anthropological 39, zoological 48 and botanical 47. Of
these, 32 were reproduced by engraving in the first editions of Le Vaillant's two journeys and three more in
the revised edition of the first journey, Voyage de F. Le Vaillant, dans l'intérieur de l'Afrique, par
le Cap de Bonne-Espérance: nouvelle édition (1797-8). François Le Vaillant has acquired a reputation
for a certain degree of romantic exaggeration, and some of his descriptions of the countryside, notably in
connection with his claim to have crossed the Orange River, have been seriously questioned, but the acquired
paintings have in many cases shown how accurate these descriptions generally were. His celebrity has in the
past rested to a considerable extent upon his magnificent large books on birds, particularly his Histoire
naturelle des oiseaux d'Afrique (1796-1812), but from the South African point of view the discovery of
the 165 paintings will tend to shift the focus of attention to his importance as a traveller. François
Le Vaillant: Traveller in South Africa and his collection of 165 water-colour paintings, 1781-1784
contains colour reproductions of all these paintings, along with explanatory text covering Le Vaillant's
life and travels and the various subjects depicted by him, by a group of South African scholars, authorities
in their various fields. With the intention of making this book fully representative of Le Vaillant's work
as far as it appertains to Southern Africa, and in view of his notability as an ornithologist, ten
reproductions in colour of bird engravings from his Histoire naturelle des oiseaux d'Afrique have
been included, as well as one of the Knysna Lourie taken from the rare colour-printed Desray edition
(1797-8) of his first journey. Not represented among the original paintings are four engravings in the first
French editions, another five in the revised French edition of the first journey and one frontispiece which
appears only in the English edition published by Lane (1790) and was probably not from a Le Vaillant
original. Of these ten engravings four, all topographical, are reproduced here in monochrome to illustrate
an essay by Vernon Forbes. Le Vaillant's map (1794-5), separated here for convenience into the two journeys,
has also been reproduced."
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Ebenfalls veröffentlicht als De Luxe
Edition (ISBN 0-621-00576-2, limitierte Auflage von 250 numerierten Exemplaren 1-250, ganz in Leder
gebunden).
Faksimile-Nachdruck von Illustrations
of the Zoology of South Africa (Großbritannien, 1838-1849).
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Please also note
the works of avian artists in 
Nummer