Pauline Knip Sold at Auction Prices

Courcelles, Pauline de

Courcelles, Pauline de 1781 Paris - 1851 ebd., nach. 4 kolorierte Kupferstiche von Gremilliet nach Pauline de Courcelles (Knip). Millevoy und Rosset um 1805. Jeweils hinter Passepartout und Glas gerahmt. Plattengröße ca. 30 x 24 cm, Rahmen ca. 51 x 44 cm. Teils fleckig, teils minimal mit Knickfalten. Dabei ein kolorierter Kupferstich "Pluvier du Senegal", wohl aus Buffon's Naturgeschichte der Vögel (Histoire naturelle). Zustand wie abgebildet, bitte selbst besichtigen. Courcelles, Pauline de 1781 Paris - 1851 ibid, after. 4 coloured copper engravings by Gremilliet after Pauline de Courcelles (Knip). Millevoy and Rosset about 1805. Each framed behind passepartout and glass. Plate size c. 30 x 24 cm, frame c. 51 x 44 cm. Partly spotted, partly minimally creased. Comes with a coloured copper engraving probably from Buffon's Naturgeschichte der Vögel (Histoire naturelle). Condition as illustrated, please inspect for yourself.

Madame Knip Watercolor of a Jay

Madame KNIP, Antoinette Pauline (French, 1781-1851). A Jay. Pen, black ink and watercolor, within grey washing framing lines on paper. 12 1/2" x 8" sheet, 22 3/4" x 18 1/2" framed. Provenance: Saam and Lily Nijstad, The Hague (Inv.nr. N382) ----------------- The best female ornithological artist of the 18th century. Madame Knip, nee Pauline Rifer de Courcelles, was born in Paris; her father was a senior navy officer. Knip studied art under Jacques Barraband And exhibited her works at 1808, 1810, 1812, and 1814 salons. She met landscape painter Joseph Knip, a student of Van Spaendonck, at Barraband's studio. They married in 1808 and later divorced in 1824. Knip’s paintings of birds, particularly the pigeons, were used in Coenraad Jacob Temminck’s multi-part work Histoire Naturelle des Pigeons et des Gallinaces. Knip came highly recommended to the project, with noted naturalists Georges Cuvier and Bernard Germain de Lacépède vouching for her artistic talent. After winning a gold medal at an 1810 exhibition, she was presented in court to Napoleon’s second wife, Empress Marie Louise. Knip’s prestige was shaded because she altered Temminck’s parts nine, and later, of this multi-part work, retitling it to Les Pigeons by Madame Knip with Temminck only being the author of the text. When the work was being prepared, Temminck lived in Holland, and de Courcelles resided in Paris and was relied upon to supervise the engraving and printing. Temminck discovered the alterations only after 1812 and found that he could not complain about piracy because of her connection to royal patronage. However, he added a note on the matter at the end of the third and last volume of his 1815 work, Histoire naturelle générale des pigeons et des gallinacés. While perhaps seen as a minor infraction these days, at the time, the sordid affair provided “delightful gossip.”

Birds.- Knip (Pauline) and Coenraad Jacob Temminck., Les Pigeons, vol.1 only (as usual), first edition, Paris, chez Mme Knip...& Garnery, 1808-11.

Birds.- Knip (Pauline) and Coenraad Jacob Temminck. Les Pigeons, vol.1 only (as usual), first edition, 87 etched plates, partly printed in colour and finished by hand after Knip, by César Macret, tissue guards, foxing (but tissue guards bearing the brunt), title with large part of lower portion torn away and replaced in facsimile, hinges weak, contemporary red half morocco, rubbed, upper joint cracking, uncut, [Anker 261; Fine Bird Books, p.86; Nissen IVB 511; Ronsil 2890; Zimmer, p.356], folio, Paris, chez Mme Knip...& Garnery, 1808-11. ⁂ Probably the best and most famous monograph on pigeons and doves, the work of Antoinette Pauline Jacqueline Knip (1781-1851), a student of the celebrated ornithological artist Jacques Barraband, and a protégée of Marie-Louise Bonaparte. Without the very rare second volume published in 1838-1843. This first volume was issued in fifteen livraisons with text by Temminck. It was originally to be entitled Histoire naturelle générale des pigeons, but Madame Knip appropriated the publication from Temminck at the ninth livraison and issued a new title. Only twelve copies of the work were approved by Temminck and these all bore the original title. Provenance: Christopher Tower (bookplate).

Attributed to Antoinette Pauline Jacqueline Knip | A pileated woodpecker, original watercolour and gouache drawing

Attributed to Antoinette Pauline Jacqueline Knip born Rifer De Courcelles (1781-1851) A pileated woodpecker Watercolour and gouache on paper 440 x 305mm., window mounted The Fairhaven inventories attribute this very fine unsigned drawing to Pauline Knip.  Pauline Knip (1781-1851) was a respected ornithological artist, the student of Jacques Barraband. Between 1808 and 1814 she exhibited her works at the Paris salon, receiving an award in 1810. She illustrated Temminck's Les Pigeons, of which Sitwell notes: "Superbly painted and reproduced these are among the finest of all bird plates". (Cf. Sitwell-Ripley, Fine Bird Books, 113.) Bid on Sotheby's

PAULINE KNIP, NEE RIFER DE COURCELLES (PARIS 1781-1851) Oiseau de paradis (

PAULINE KNIP, NEE RIFER DE COURCELLES (PARIS 1781-1851) Oiseau de paradis (Uranornis rubra) sur une branche... aquarelle et gouache sur vélin 60 x 45 cm (23 5/8 x 17 3/4 in.)

Knip (Pauline) and Coenraad Jacob Temminck., Les Pigeons, vol.1 only (as usual), first edition, Paris, chez Mme Knip...& Garnery, 1808-11.

Knip (Pauline) and Coenraad Jacob Temminck. Les Pigeons, vol.1 only (as usual), first edition, 87 etched plates, partly printed in colour and finished by hand after Knip, by César Macret, tissue guards, foxing (but tissue guards bearing the brunt), title with large part of lower portion torn away and replaced in facsimile, hinges weak, contemporary red half morocco, rubbed, upper joint cracking, uncut, [Anker 261; Fine Bird Books, p.86; Nissen IVB 511; Ronsil 2890; Zimmer, p.356], folio, Paris, chez Mme Knip...& Garnery, 1808-11. ⁂ Probably the best and most famous monograph on pigeons and doves, the work of Antoinette Pauline Jacqueline Knip (1781-1851), a student of the celebrated ornithological artist Jacques Barraband, and a protégée of Marie-Louise Bonaparte. Without the very rare second volume published in 1838-1843. This first volume was issued in fifteen livraisons with text by Temminck. It was originally to be entitled Histoire naturelle générale des pigeons, but Madame Knip appropriated the publication from Temminck at the ninth livraison and issued a new title. Only twelve copies of the work were approved by Temminck and these all bore the original title. Provenance: Christopher Tower (bookplate).

Pauline De Courcelles (1781-1851) French, Etchings

Pauline De Courcelles (1781-1851) French, pair of hand colored etchings c 1802 of a male and female Oriole. She was a student of Jacques Borraband. She was later married and became Pauline Knip. Overall size: 20 x 18 in. Sight size: 12 x 10 in. Location BB

Knip, Pauline (1781-1851) & Coenraad Jacob Temminck (1778-1858).

Les Pigeons. Mit 87 kolorierten Farbstichen von C. Macret nach Zeichnungen von Madame Knip. [2] ll., pp. 13, (1), (23)-41, 128, 30. Paris, chez l'Auteur et Gamery (1808)-1811). Gr.Fol. Roter Halbmaroquinbd. d. Zt. mit Rverg. Nissen, Vogelb. 51 1. Anker 261; Nissen, ZBI, 511 and IVB 511; Fine Bird Books (1990), 113; Zimmer pp.356-57; R. Ronsil, Madame Knip ... et son oeuvre ornithologique, in: Journal of the Society for the Bibliography of Natural History III (1957), 207ff.; D'Anreville u.a., L'Impératrice Joséphine et les sciences naturelles (1997), n° 114; Dickinson, et al., Histoire naturelle des pigeons or Les pigeons: C. J. Temminck versus Pauline Knip, in: Archives of Natural History, vol. XXXVII (2010), p. 203ff. Das schönste aller Taubenbücher. - Der Text des Werkes ist von C. J. Themminck. - Les Pigeons. Folio (523x350 mm). [2] ll., pp. 13, (1), (23)-41, 128, 30. With 87 plates by Caesar Macret after Madame Knip, printed in colours by Millevoy and finished by hand under the supervision of the artist. Contemporary half long grained morocco, smooth spine divided by ornamental fillets into six panels, the second with lettering, the rest alternately gilt tooled with an vase resp. a semis of small stars, gilt oak leaf roll border on covers, centre of front cover with gilt inscription within a large escutcheon. Binding slightly rubbed at caps, rear joint restored, front hinge loosening, fabric tape on edges. Intermittent and occasional heavy spotting throughout. First edition of the artistically most ambitious bird book before Audubon, Selby, and Lear a generation later. Pauline Knip, née Rifer de Courcelles, a pupil of the celebrated Jacques Barraband and a protégée of the Empress Marie-Louise, was a renowned bird artist in Paris. Her fame is mainly due to the present illustrations of pigeons that are "among the finest of all bird plates" (Fine Bird Books, p. 86). Knip painted 48 birds after specimens in the Natural History Museum in Paris and copied the rest from drawings by Jean Gabriel Prêtre, sent to her by Temminck from the Netherlands. This work is a curiosity in publication history. It was originally planned to be published under the title Histoire générale des pigeons by the famous Dutch ornithologist Temminck, who commissioned the paintings from Madame Knip. At the ninth livraison Madame Knip accomplished a piece of finesse, by which she usurped the publication from Temminck and appropriated it to herself. To do this she changed the cover title of the ninth and following livraisons, furnished a new title page crediting the work to herself with text by Temminck, substituted a new Discours sur les pigeons, and directed the binder to suppress Temminck's introduction, his index and his Discours. To account for the gap in the pagination of the text between the pages 13 and 23 she even went so far as to declare it was a typographical error. The fraud impelled Temminck to republish the text in three volumes between 1813-1815. A fine copy in a presentation binding with the following gilt tooled inscription on front cover: Don de la munificence et des bontés de son Excellence Monseigneur le comte de Montalivet, ministre de l'intérieur - 1813. Jean-Pierre Bachasson, Comte de Montalivet (1766-1823), was director of the Legion of Honor, and, from 1806, head of the Corps des Ponts et Chaussées as which he oversaw large-scale urban works in Paris, such as the Arc de Triomphe and the Palais Brongniar, as well as the expansion of sewage works. In 1809 he became Minister of the Interior.

5 Pauline Knip French Bird Prints, 19th c.

Pauline Knip, also known as Pauline Rifer de Courcelles (French, 1781-1851) five hand finished engravings of pigeons with Latin titles: Columba Purpurata, Columba Afra, Columa Capensis Mas, and Columba Malaccensis (titled in plate, center, also with French names). One has slipped in frame so that the title is not visible. Possibly from the "Histoire Naturelle des Pigeons et des Gallinaces" by Coenraad Jacob Temminck. All matted and framed under glass in narrow molded lemon-gilt frames. All approximately 17" x 13 1/2" sight, 23" x 19 1/2" framed. Provenance: Nashville, Tennessee estate. (Additional high-resolution photos are available at www.caseantiques.com.)

KNIP, Pauline (1781-1851) & TEMMINCK, Coenraad Jacob (1778-1858). Histoire naturelle générale des pigeons; par C. J. Temminck,... avec figures en couleurs, peintes par mademoiselle Pauline de Courcelles, gravées, imprimées et retouchées sous sa direction. Paris: Garnery, 1808 [-1811]. In-folio (515 x 348 mm). Titre seul et 87 grandes planches imprimées en couleur et rehaussées à la main, gravées par César Macret d'après les dessins de Pauline de Courcelles, numérotées 1 à 11, 1 à 16 et 1 à 59 (avec 2 planches n° 25). Reliure de l'époque, demi-veau tacheté à coins, dos lisse orné (reliure frottée, petits manques aux coiffes, plats éraflés). Provenance: ex-libris B.L. non identifié au contreplat. ÉDITION ORIGINALE, avec le titre en premier tirage, du premier volume de cet important ouvrage. Sans le texte par Temminck. Ouvrage initialement publié en livraisons sous la direction de Coenraad Jacob Temminck; Madame Knip, née Pauline de Courcelles, en racheta les droits de publication à partir de la 9υe livraison et en changea le titre en Les Pigeons. Les planches sont ici numérotées en chiffres arabes et non romains, contrairement à ce qu'annoncent les bibliographies; par ailleurs, les planches 1, 3 et 4 de la première série, 2, 3 et 8 de la seconde et 4, 19 et 20 de la troisième sont ici numérotées à la main; enfin, il n'y a pas de planche bis mais bien deux planches numérotées 25. D'après Zimmer, "of the original folio of Temminck, entitled 'Histoire naturelle générale des pigeons', only twelve copies were seen and approved by Temminck, eight of which he retained himself"; cette information est corroborée par une note de Nissen rapportant une information donnée par E. Coues dans un article de 1878 au sujet du "vol" de cette édition par Madame Knip. Nissen IVB, 511 (pour l'édition sous le titre Les Pigeons); Ronsil 2889; Sitwell, p. 113 ("Superbly painted and reproduced these are among the finest of all bird plates"); Wood, p. 420; Zimmer, p. 356.

Coenraad Jacob Temminck (1778-1858) and Antoinette Pauline Jacqueline Knip (1781-1851)

Histoire Naturelle G‚n‚rale des Pigeons. Paris: Garneray, 1808[-1811]. 1 volume, 2o (522 x 350mm). 87 fine coloured plates after Knip, etched by C‚sar Macret, all printed in colours and finished by hand, EXTRA-ILLUSTRATED WITH 5 ORIGINAL WATERCOLOURS OF PIGEONS. (Occasional spotting, more noticeable to about 19 plates, three plates with neat repairs to lower blank margins, light old dampstaining to blank margins of final 19 leaves.) Contemporary Dutch marbled calf gilt by A. van Rossum of Amsterdam, covers with decorative border of greek-key roll and inner decorative roll, the flat spine divided into seven compartments by horizontal bands made up from a greek-key roll flanked by other decorative rolls, red morocco lettering-piece in the second compartment, large centrally-placed oval tool in each of the other compartments, marbled endpapers, binders ticket at foot of front free endpaper (neat repairs to head and foot of spine and corners). A UNIQUE COPY WITH FIVE ORIGINAL WATERCOLOURS, POSSIBLY BY MADAME KNIP: FIRST EDITION, WITH FIRST ISSUE TITLE AND TEXT, ONE OF 12 TWELVE COPIES 'APPROVED' BY TEMMINCK WITH ADDITIONAL HAND-COLOURING TO THE PLATES, IN EFFECT AN 'EXEMPLAIRE SOIGN‚', FINELY BOUND IN A CONTEMPORARY DUTCH BINDING. This issue includes the text as originally envisioned by the author before the alterations made for Madame Knip's second issue. The plates in the present copy have considerable additional hand-colouring: this is particularly evident on the perches on which many of the birds are placed. In usual copies these are purely colour-printed, but in the present example carefully composed and beautifully executed foliage has been added. This heightens the illusion that the birds have all been pictured from life in the wild. In general, it is also clear that much greater care has been taken with the colouring of the plummage of all the birds. The result is that the images are truly 'among the finest of all bird plates' ( Fine Bird Books ). The additional watercolours bound into this copy are all of subjects that are already represented by plates after Madame Knip. Their style and skill of execution are certainly a match for Madame Knip's work but they are unfortunately unsigned and cannot be definitely be assigned to her. The subjects (using Temminck's nomenclature) are as follows: 1. Colombe G‚ant; 2. Colombe Rammeron mƒle; 3. Colombe Grivel‚e mƒle; 4. Colombe Largup; 5. Colombi-Galline Goura. The work was issued in 15 parts, initially under the control of Temminck who was based in Amsterdam. However, at the time of the publication of the ninth part Madame Knip apparently appropriated the work, issued a new title and made some alterations to the text, and the work was eventually published under the title Les Pigeons, par Madame Knip with the title dated 1811. A second volume, issued under Madame Knip's control, with text by Prevost, and 60 additional plates, was added to the second edition published between 1838 and 1843. Unfortunately their are no indications as to who originally owned the present work, but Temminck himself may well be a possible candidate. Aside from the evident care with which this copy has been assembled, there are two external factors that would support this supposition: Temminck's liking for extra-illustrated natural history works, which is mentioned in the 1858 auction catalogue of his library, and the relatively recent appearance of a similarly presented work which came from his library (Francois Levaillant's Histoire naturelle des oiseaux d'Afrique, Jeanson copy, sale Monaco, Sotheby's 16 June 1988, lot 280). Cf. Anker 261 ('The copies which Temminck received from Madame Knip, among which eight were due to him as author, were not altered, and bore the title [as above]... Only twelve such copies were approved by Temminck'); cf. Coues pp.794-797; cf. Fine Bird Books (1990) p.113; Nissen IVB 511; Ronsil p.466 and cf. 2890; cf. Zimmer pp.356-7.