1654 resultados
ref. 11288Japan: ca. 1854-55. An impressively assembled scroll that portrays the second American expedition to Japan February-March 1854 led by Commodore Perry; much of it is focused on the American vessels that anchored menacingly off the coast. Seven of the nine ships in the American fleet are carefully portrayed with notes on the estimated numbers of cannons and crewmembers. Steam-powered ships with black smoke gushing from the stacks and rows of powerful cannons shocked the Japanese most of whom had never seen such a demonstration of advanced military technology. The observations in this scroll must have been crucial to inform the decision-making of Japanese officials. "Black Ship Scrolls" conveying eyewitness reports were disseminated among the Japanese elite and kept top secret. Our scroll was presumably created for a high-ranking Japanese official since any information on the American interlopers was carefully controlled by the local authorities to maintain public order in the face of an anticipated foreign invasion. Compared to other depictions of the foreigners which frequently showed them as caricatures hairy oversized red-faced and blue-eyed the more dignified portraits in our scroll demonstrate the increasing familiarity between the Japanese and American contingents. In the years following Japan's opening to the West Japanese artisans produced countless scrolls commemorating the American expeditions catering to the tourist trade and as gifts to visiting dignitaries. Mass-produced with foreigners' preferences in mind these scrolls took liberties with the events that transpired straying far from the earliest accounts and sketches. They pale in comparison with the elaborate and scrupulous illustrations found in this early scroll. Though the later mass-produced scrolls are easily found on the market examples like ours presumably created for a Japanese official or nobleman remain greatly treasured for their revealing depictions. We have ordered the scroll into 15 individual scenes most of which have a contemporary manuscript caption translated below: I. Three sailors in the American marching band two of whom are uniformed drummer boys. The band led the American march to Yokohama where negotiations between the two nations were held in a newly constructed reception hall. The Japanese manuscript caption reads: "Illustration of musicians." II. Two sailors with swords sheathed are holding their muskets with bayonets fixed. A fine indigo ink has been employed to depict the uniform on the left. Caption: "Rank: Sergeant/Soldier." III. Commodore Perry on the right faces a sailor who may be the conductor of the American expedition's marching band. Perry is depicted rather sympathetically compared to exaggerated and even outlandish portraits that depict him as quite large hairy and red-faced. The artist has once more used a deep indigo to capture the color of the uniforms. Caption: "Ambassador Perry/Conductor Commandant." IV. A larger portrait of a lone sailor probably an officer clutching his sheathed sword and clenching his fist. Caption: "Foreigner Captain landed near Kanagawa." V. An elaborate and realistic portrait of Perry capturing even the individual hairs on his head and the wrinkles on his face. Caption: "American Envoy Perry." VI. A portrait of Perry's chief-of-staff Henry A. Adams done by the same artist as Perry's portrait. Caption: "American Vice Envoy Adams." VII. upper portion A very long horizontal painting of the American column marching to the Yokohama reception hall for negotiations regarding the opening of Japan to American trade. There are more than 100 armed Americans soldiers following the marching band. The top of this sheet has been slightly cropped cutting off part of the American flag in the middle. Caption: "Illustration of American landing column." VIII. lower right A sizable rendering of the USS Vandalia a sloop-of-war that joined the Perry Expedition in late 1853. Caption: "Name of ship: Vandalia 20 cannons 200 crewmembers." Minuscule mended wormholes to the image. IX. lower left The USS Saratoga another sloop-of-war. Caption: "Name of ship: Saratoga 20 cannons 200 crewmembers." Expertly mended wormholes touching the image hardly visible. X. upper portion A panoramic view with a fleet of 23 American rowboats headed to shore. Mending to the top of the scroll. XI. right lower portion The USS Mississippi a steam frigate that was part of the first expedition. Caption: "Name of ship: Mississippi 8 cannons 240 crewmembers." XII. left lower portion The USS Southampton a storeship. Caption: "Name of ship: Southampton 6 cannons 50 crewmembers." Expert mending of wormholes affecting the image. XIII. USS Supply a supply ship. Caption: "Name of ship: Supply 6 cannons 40 crewmembers." Wormholes repaired and with some foxing. XIV. USS Lexington a supply ship. Caption: "Name of ship: Lexington 26 cannons 50 crewmembers." Repaired wormholes and small sections of the white wash used for the sails have come off. XV. USS Susquehanna a steam frigate. Caption: "Name of ship: Susquehanna 6 cannons 240 crewmembers." Careful mending of wormholes to head and tail of scroll. In very good condition; there are a number of wormholes all expertly restored to the point that most are invisible to the naked eye and some browning and speckles to blank segments of the scroll. Two unidentified ownership seals next to the illustration of the USS Vandalia no. VIII. Housed in a custom-made 20th-century wooden box. ⧠Renata V. Shaw "Japanese Picture Scrolls of the First Americans in Japan" in The Quarterly Journal of the Library of Congress Vol. 25 No. 2 April 1968 pp. 134-53. For helpful recapitulations of accounts from the Japanese and Americans William McOmie The Opening of Japan 1853-1855: A Comparative Study of the American British Dutch and Russian Naval Expeditions to Compel the Tokugawa Shogunate to Conclude Treaties and Open Ports to Their Ships 2006. unknown books
1789ref. 48038Puerto Deseado Argentina. ca. 1789. Two Extraordinary Native American Portraits from the Malaspina Expedition A superb pair of highly finished red chalk portraits of two Patagonians made at Puerto Deseado in southern Argentina during the Malaspina expedition by one of the expedition's artists. The Malaspina Expedition was Spain's single effort at a voyage of exploration and discovery comparable to the great English and French voyages of the late 18th and early 19th centuries. More specifically it was designed to gain geographical knowledge and underpin Spain's territorial claims to the Northwest coast of America. It also had ambitious plans to publish its findings in the tradition of the other great European voyages. The Malaspina voyage is famous for the quality of the scientific material collected not least the anthropological drawings of peoples drawn at their many ports of call accurate and lifelike depictions very much in the tradition of the artists who accompanied James Cook William Hodges and John Webber. The expedition circumnavigated the globe leaving Cadiz on July 30 1789 visiting the coast of Patagonia in November working on the west coast of the Americas in 1790 and 1791 and ultimately returned to Spain in 1794 after a five-year voyage. Although unsigned both portraits offered here have been firmly attributed to voyage artist José de Pozo Ximénez 1757-1821 who made a series of drawings in Patagonia including one sketch in which he and his fellow artist Pineda are depicted in the act of drawing some of the local people. Pozo Ximénez was a native of Seville hired as an expedition painter by the Spanish government in June 1789. At the time of his recruitment he was described as "an excellent subject and perspective painter having a very good education with a wealth of geometry and is very robust for the age of 32" quoted in Puig-Samper p.18. A specialist in perspective and portraits his ethnological work is considered his greatest contribution to the results of the voyage but although Malaspina admired his "accuracy and speed" Journal of the Voyage p.140 the commander became increasingly infuriated with what he saw as the artist's laziness and indifference and forced him to leave the expedition in Callao in May 1790. Although ordered back to Spain Pozo in fact never left Peru founding a school of painting in Lima. The bulk of his Malaspina voyage originals are in the Museo Naval Madrid where much of the original material from the expedition resides. The portraits depict a man and woman drawn during a well-recorded encounter between the Spanish and the Patagonians in December 1789. It can be established that the man is a chief called "Junchar"; and the young woman is apparently the young woman called "Jujana" or "Cátama" who is described in detail in Malaspina's journal as having captivated the Spanish officers. The expedition had reached Puerto Deseado in late 1789 and Malaspina personally describes their interaction with a local tribe of some forty people on three separate occasions pp.85-90. Pozo joined Malaspina on the second of these visits drawing these portraits and a larger sketch of the encounter between the Spanish officers and a large group of Patagonians a sketch which seems to have an each-way bet on whether they were in fact giants: Pozo's Patagonians are strapping but not absurdly tall Serrano plate 36. Indeed it is plausible that the two present portraits are of people who are also in that larger scene: Junchar may be the man with a cloak over one shoulder talking to one of the Spanish men while the young woman could conceivably be the person standing at the far right of the Patagonians with dark eyes and parted hair. What is clear is that both subjects were described in detail by Malaspina personally. Of Junchar he notes: "In general they were all including the women and children very large and solidly built. Their height was not in proportion to their build but they were tall: the cacique Junchar who was carefully measured by Don Antonio Pineda and found to be six Burgos feet and ten inches in height and almost twenty-three inches broad from shoulder to shoulder" p.87. No doubt Junchar was singled out by Pozo because his large stature spoke to the ancient misconception of Patagonians as giants a myth which had gripped the European imagination since the time of Magellan. In a much longer passage Malaspina also describes how they singled out one particular woman to have her portrait taken: a "Patagonian girl aged about fourteen later referred to as Jujana by Malaspina whose good looks great charm and exceptional loquacity had made us choose to portray her rather than the other women was drawn to our attention even more when the time came for them to go ashore" as she struggled to modestly use her poncho to carry away some biscuits and vegetables that had been given to her as a gift p.89. In the catalogue raisonné of the art of the Malaspina voyage Carmen Sotos Serrano located two preliminary gridded sketches of these portraits "Patagon" and "contorno de la Patagone" respectively see cat. 39 and 40. Pozo also did a full-length study of Junchar and two other studies of a second woman with child cat. 41 and 42. All of these sketches are in the Museo Naval in Madrid which collection also includes two later oil paintings of Junchar and the young woman now called "Cátama." The oils were acquired by the museum in 1932. The drawings presently offered were originally in an album or portfolio entitled "Spanish Drawings" which had been acquired by Elizabeth Lady Holland when travelling extensively in Spain between 1802 and 1805. The Whatman paper into which they have been window-mounted for the album is watermarked 1801 confirming this approximate date of acquisition and their having been mounted in an album. Many of the other drawings in the collection were topographical works by another Malaspina voyage artist Fernando Brambila. When the present drawings were sold in the large sale of drawings from Holland House in 1979 they were attributed to Brambila with the rather telling comment that "no comparable drawings by the artist are recorded." However a comparison with the works illustrated by Serrano and a reading of the journals make it clear that Pozo Ximénez is the artist. Because Malaspina quickly fell into official disfavor and with the disruptions of the Napoleonic Wars the extensive planned publications of the expeditions never came to be. Virtually all of the archives of the voyage are now to be found in the Museo Naval in Madrid. These drawings acquired only a few years after the return of the voyage by Lady Holland are thus among the very few original works of the voyage to ever appear in the market. An extraordinary opportunity to acquire two significant portraits of Native Americans from one of the greatest voyages of the Second Age of Exploration. Two red chalk drawings: the young woman on a sheet 228 x 190 mm. paper watermarked with a combined "P" and smaller "L"; the man "Junchar" on a sheet 228 x 195 mm. Both drawings window-mounted probably about 1801 into a larger sheet of Whatman paper with ink borders added. Fine. HOWGEGO I M26. Carmen Sotos Serrano Los Pintores de la Expedicion de Alejandro Malaspina Madrid 1982 cat. 39-42. Miguel Ãngel Puig-Samper "Illustrators of the New World: The Image in the Spanish Scientific Expeditions of the Enlightenment" in Culture and History Digital Journal Vol. 1 no. 2 December 2012 pp.1-28. Andrew David et al. eds. The Malaspina Expedition 1789-1794 Journal of the Voyage by Alejandro Malaspina Vol. 1 Cadiz to Panama London: The Hakluyt Society 2001. unknown
1789ref. 48038Puerto Deseado Argentina. ca. 1789. Two Extraordinary Native American Portraits from the Malaspina Expedition A superb pair of highly finished red chalk portraits of two Patagonians made at Puerto Deseado in southern Argentina during the Malaspina expedition by one of the expedition's artists. The Malaspina Expedition was Spain's single effort at a voyage of exploration and discovery comparable to the great English and French voyages of the late 18th and early 19th centuries. More specifically it was designed to gain geographical knowledge and underpin Spain's territorial claims to the Northwest coast of America. It also had ambitious plans to publish its findings in the tradition of the other great European voyages. The Malaspina voyage is famous for the quality of the scientific material collected not least the anthropological drawings of peoples drawn at their many ports of call accurate and lifelike depictions very much in the tradition of the artists who accompanied James Cook William Hodges and John Webber. The expedition circumnavigated the globe leaving Cadiz on July 30 1789 visiting the coast of Patagonia in November working on the west coast of the Americas in 1790 and 1791 and ultimately returned to Spain in 1794 after a five-year voyage. Although unsigned both portraits offered here have been firmly attributed to voyage artist José de Pozo Ximénez 1757-1821 who made a series of drawings in Patagonia including one sketch in which he and his fellow artist Pineda are depicted in the act of drawing some of the local people. Pozo Ximénez was a native of Seville hired as an expedition painter by the Spanish government in June 1789. At the time of his recruitment he was described as "an excellent subject and perspective painter having a very good education with a wealth of geometry and is very robust for the age of 32" quoted in Puig-Samper p.18. A specialist in perspective and portraits his ethnological work is considered his greatest contribution to the results of the voyage but although Malaspina admired his "accuracy and speed" Journal of the Voyage p.140 the commander became increasingly infuriated with what he saw as the artist's laziness and indifference and forced him to leave the expedition in Callao in May 1790. Although ordered back to Spain Pozo in fact never left Peru founding a school of painting in Lima. The bulk of his Malaspina voyage originals are in the Museo Naval Madrid where much of the original material from the expedition resides. The portraits depict a man and woman drawn during a well-recorded encounter between the Spanish and the Patagonians in December 1789. It can be established that the man is a chief called "Junchar"; and the young woman is apparently the young woman called "Jujana" or "Cátama" who is described in detail in Malaspina's journal as having captivated the Spanish officers. The expedition had reached Puerto Deseado in late 1789 and Malaspina personally describes their interaction with a local tribe of some forty people on three separate occasions pp.85-90. Pozo joined Malaspina on the second of these visits drawing these portraits and a larger sketch of the encounter between the Spanish officers and a large group of Patagonians a sketch which seems to have an each-way bet on whether they were in fact giants: Pozo's Patagonians are strapping but not absurdly tall Serrano plate 36. Indeed it is plausible that the two present portraits are of people who are also in that larger scene: Junchar may be the man with a cloak over one shoulder talking to one of the Spanish men while the young woman could conceivably be the person standing at the far right of the Patagonians with dark eyes and parted hair. What is clear is that both subjects were described in detail by Malaspina personally. Of Junchar he notes: "In general they were all including the women and children very large and solidly built. Their height was not in proportion to their build but they were tall: the cacique Junchar who was carefully measured by Don Antonio Pineda and found to be six Burgos feet and ten inches in height and almost twenty-three inches broad from shoulder to shoulder" p.87. No doubt Junchar was singled out by Pozo because his large stature spoke to the ancient misconception of Patagonians as giants a myth which had gripped the European imagination since the time of Magellan. In a much longer passage Malaspina also describes how they singled out one particular woman to have her portrait taken: a "Patagonian girl aged about fourteen later referred to as Jujana by Malaspina whose good looks great charm and exceptional loquacity had made us choose to portray her rather than the other women was drawn to our attention even more when the time came for them to go ashore" as she struggled to modestly use her poncho to carry away some biscuits and vegetables that had been given to her as a gift p.89. In the catalogue raisonné of the art of the Malaspina voyage Carmen Sotos Serrano located two preliminary gridded sketches of these portraits "Patagon" and "contorno de la Patagone" respectively see cat. 39 and 40. Pozo also did a full-length study of Junchar and two other studies of a second woman with child cat. 41 and 42. All of these sketches are in the Museo Naval in Madrid which collection also includes two later oil paintings of Junchar and the young woman now called "Cátama." The oils were acquired by the museum in 1932. The drawings presently offered were originally in an album or portfolio entitled "Spanish Drawings" which had been acquired by Elizabeth Lady Holland when travelling extensively in Spain between 1802 and 1805. The Whatman paper into which they have been window-mounted for the album is watermarked 1801 confirming this approximate date of acquisition and their having been mounted in an album. Many of the other drawings in the collection were topographical works by another Malaspina voyage artist Fernando Brambila. When the present drawings were sold in the large sale of drawings from Holland House in 1979 they were attributed to Brambila with the rather telling comment that "no comparable drawings by the artist are recorded." However a comparison with the works illustrated by Serrano and a reading of the journals make it clear that Pozo Ximénez is the artist. Because Malaspina quickly fell into official disfavor and with the disruptions of the Napoleonic Wars the extensive planned publications of the expeditions never came to be. Virtually all of the archives of the voyage are now to be found in the Museo Naval in Madrid. These drawings acquired only a few years after the return of the voyage by Lady Holland are thus among the very few original works of the voyage to ever appear in the market. An extraordinary opportunity to acquire two significant portraits of Native Americans from one of the greatest voyages of the Second Age of Exploration. Two red chalk drawings: the young woman on a sheet 228 x 190 mm. paper watermarked with a combined "P" and smaller "L"; the man "Junchar" on a sheet 228 x 195 mm. Both drawings window-mounted probably about 1801 into a larger sheet of Whatman paper with ink borders added. Fine. HOWGEGO I M26. Carmen Sotos Serrano Los Pintores de la Expedicion de Alejandro Malaspina Madrid 1982 cat. 39-42. Miguel Ãngel Puig-Samper "Illustrators of the New World: The Image in the Spanish Scientific Expeditions of the Enlightenment" in Culture and History Digital Journal Vol. 1 no. 2 December 2012 pp.1-28. Andrew David et al. eds. The Malaspina Expedition 1789-1794 Journal of the Voyage by Alejandro Malaspina Vol. 1 Cadiz to Panama London: The Hakluyt Society 2001. unknown books
ref. H714an Bord der HMS Challenger 1872-1875. 4to. Band 1: 378 S. Band 2: 98 S. Mit zahlreichen Skizzen und Plänen im Text. Halblederbände der Zeit in neuer Lederbox. Sehr gut leserliche Handschrift meist in deutscher Sprache. Original-Tagebuch des deutschen Biologen von der Reise der HMS Challenger. Gestorben auf Tahiti. Die letzten Eintragungen des Biologen stammen vom 2.September 1875 auf Hilo Hawaii. Die Reise führte weiter Richtung Tahiti unterwegs am 13.September 1875 starb Willemoes-Suhm. Sein Tagebuch ist eine Fundgrube an Reisenotizen und wissenschaftlichen sowohl zoologischen als auch botanischen Eintragungen. Unterteilt ist sein Tagebuch nach den Stationen u.a. Azoren St. Paul Tristan-Inseln Pince Edwards Islands Crozet-Insel Kerguelen Antarktis Australien Neuseeland Tonga Fiji Ovalau Api Neue Hebriden Arafui Ari Ke´Dulan Ternate Lamboanga Manilla Cebri Humboldt-Bai – Neu-Guinea Yeddo Yokohama Hiogo. Yokohama – Sandwich-Inseln Honolulu Hilo. 1872-1875. Important manuscript by one of the leading naturalists on the voyage. Original scientific travel journal titled “Challenger” Rudolph von Willemoes Suhm “Journal No.” “I & II.” Scientific Travel Journal of the German Explorer and Zoologists aboard HMS Challenger. Text in German but occasionally in English. 2 Vols. 21 Dec. 1872-6. Sept. 1875. 4to 378; 98 pp. illustrated with sketches and 1 photograph original half calf fitted half morocco case. Autograph journal kept by the German naturalist Rudolf v. Willemoes-Suhm during his 3-year journey with the Challenger. Suhm was mainly concerned with Crustaceans and several new species were named by him. His journal covers the entire voyage until his tragic death from erysipelas on 13th September1875 while the ship was at Tahiti in the Pacific. His travel report remains unpublished and is a leading yet apparently untapped source on the history of the Challenger Expedition as well as research and discovery of the sea. Suhm born on 11. September 1847 in Glückstadt on the Elbe River studied in Bonn Munich and Göttingen already at the age of 24 years he was a Professor of Zoology at the University of Munich. in 1872 he was appointed by Sir Charles Wyville Thomson the Scientific Director of the Challenger Expedition as the only German on the staff of the research carried out on behalf of the Royal Society. The posthumous journal covers the entire period from Suhms trip to a few days before his death in which his illness forced him to stop writing. It contains a wealth of information particularly the geographical and zoological research of the “Challenger”. Suhm illustrated his records with small designs including many maps and some small Zoological representations. Die britische Challenger-Expedition 1872-1876 war die erste rein wissenschaftliche Forschungsreise. Das Expeditionsschiff HMS Challenger legte bei Ihrer Reise ca. 130.000 km zurück und durchzog damit beinahe das gesamte Weltmeer. Mit dieser Expedition wurde der Grundstein für die Ozeanographie gelegt. Wichtige Forschungsstationen waren die Bahamas die Marion-Inseln im südlichen Eismeer Neuseeland die Auckland-Inseln und Neu-Guinea. Die Ergebnisse wurden in 50 Bänden veröffentlicht. unknown
