Decorative and colourful early 19th century print of three different bird species.
Der Grosse Paradiesvogel Paradisen Apoda (Greater bird-of-paradise, male)
The greater bird-of-paradise is distributed to lowland and hill forests of southwest New Guinea and Aru Islands, Indonesia. The diet consists mainly of fruits, seeds and small insects.
Der Brasiliensische Sager Momotus Brassiliensis (Motmot)
The motmots or Momotidae are a family of birds in the near passerine order Coraciiformes, which also includes the kingfishers, bee-eaters and rollers. All extantmotmots are restricted to woodland or forest in the Neotropics, and the largest diversity is in Middle America.
Der Barbikan Bucco Dubius (Bearded Barbet)
The bearded barbet is an African barbet. Barbets and toucans are a group of near passerine birds with a worldwide tropical distribution. The barbets get their name from the bristles which fringe their heavy bills.The bearded barbet is a common resident breeder in tropical west Africa.
size image: 34 cm x 28 cm
Reproduction of a chromolithograph of Borobudur temple complex in Central Java, after J.C. Rappard from M.T.H. Perelaer’s Nederlandsch-Indie Java Door De Buitenbezittingen published in Leiden in 1883. The last quarter of the 19th century was a period when colour printing was becoming a mechanical process, and book illustration was becoming increasingly reliant on photomechanical methods of production. A work which provides striking evidence of these changes is W.A. van Rees and M.T.H. Perelaer’s Nederlandsch-Indie, which was first published in four folio volumes by A.W. Sijthoff, Leiden between 1881 and 1883, with 103 chromolithograph plates mounted on very heavy paper after drawings by Jhr. J.C. Rappard, who served as a military officer in Indonesia for thirty years between 1842 and 1872. What makes this otherwise undistinguished work one of interest in the history of Indonesian illustration is not so much that the plates reflect the insipid character of chromolithography of the period, but that they are after drawings executed not directly from nature in Indonesia, but in Leiden from photographs. From such an uninspiring source it is hardly surprising that the plates are dull and lifeless, typical of the photomechanical age of printing which was now beginning, and which eventually led to the photographer replacing both the artist and artist-engraver as the principal agent of book illustration.
Size image: 23 cm x 17 cm
Orang-Utan print by the Dutch artist Simon Fokke, originally published in Vosmaer’s 1778 edition of his book about apes on the island Borneo. This was the last volume he published on apes, and was dedicated only to the ‘Orang-Oetang’.
size image: 20 cm x 15 cm
An interesting and one of the few prints that show Batavia how it looked like in the mid-18th century. The Dutch rulers followed the Dutch architactel way of building the houses, roads and canals. The only different was that in Batavia the build sunshades on they buildings. Showing in the print the terrible massacre of the Chinese that occurred in Batavia October 9th 1740, engraved by Adrian van der Laan of Amsterdam. The print shows Dutch troops firing cannon into Chinese houses on the banks of Kali Besar, slaughtering people as they fled their burning homes and waiting in boats to kill those that sought escape in the river; it is estimated that some 10,000 Chinese were killed. The massacre was prompted by tales of Chinese atrocities following the death of 50 Dutch soldiers at the hands of enraged Chinese sugar plantation workers who were protesting about Government repression and the declining sugar prices. This dramatic event is considered as the end of the Dutch golden age.
Size image: 39 cm x 53 cm