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Fine Art Antique Engravings & Lithographs

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Trillium Antique Prints & Rare Books

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  • Anson - A Plan of The Harbour of

    Anson - A Plan of The Harbour of

  • Anson - A Sea Lion & Lioness

    Anson - A Sea Lion & Lioness

  • Laplace - Ile-de-France; Fort-Louis a

    Laplace - Ile-de-France; Fort-Louis a

  • Laplace - Rio de Janeiro, Brazil;

    Laplace - Rio de Janeiro, Brazil;

Lot: 36801 - Anson - A Plan of The Harbour of Acapulco, A Plan of The Bay of Manila. …

This important travel engraving is from Lord George Anson's A Voyage Round the World in the Years 1740-1744. This is the fifth edition of the work published by John and Pual Kanpton in London in 1749. The work was compiled by Richard Walter from Anson's papers and materials. The work was first published in 1748 and was the official account of Anson's famous circumnavigation of the world. It is considered a "masterpiece of descriptive travel" and was the "most popular book of maritime adventure of the eighteenth century." (Hill) Anson's voyage inspired a great age of British voyages in the Pacific including Captain Cook's travels. Anson's circumnavigation was strictly a military expedition though, and its intent was to disrupt Spanish commerce. "Anson’s voyage is remembered as a classic tale of endurance and leadership in the face of fearful disasters, but to the British public of 1744 it was the treasure of the galleon, triumphantly paraded through the streets of London, which did something to restore national self-esteem battered by an unsuccessful war." (ODNB) “This famous and unfortunate expedition, consisting at the start of eight ships, was sent under the command of George Anson at the beginning of the war with Spain, to harass the Spaniards on the western coast of South America. Seven ships were lost around Cape Horn and on the coast of Chile and out of 900 men, 600 perished. The primary object of the expedition was not attained, but by the capture of the Manila Galleon near China, Anson and the surviving members of his crew reached England much the richer. This account is the official one… It is a model of what such literature should be.” (Cox I, 49) Paper Size ~ 17 1/4" by 11 1/4"

Lot: 36802 - Anson - A Sea Lion & Lioness

This important travel engraving is from Lord George Anson's A Voyage Round the World in the Years 1740-1744. This is the fifth edition of the work published by John and Pual Kanpton in London in 1749. The work was compiled by Richard Walter from Anson's papers and materials. The work was first published in 1748 and was the official account of Anson's famous circumnavigation of the world. It is considered a "masterpiece of descriptive travel" and was the "most popular book of maritime adventure of the eighteenth century." (Hill) Anson's voyage inspired a great age of British voyages in the Pacific including Captain Cook's travels. Anson's circumnavigation was strictly a military expedition though, and its intent was to disrupt Spanish commerce. "Anson’s voyage is remembered as a classic tale of endurance and leadership in the face of fearful disasters, but to the British public of 1744 it was the treasure of the galleon, triumphantly paraded through the streets of London, which did something to restore national self-esteem battered by an unsuccessful war." (ODNB) “This famous and unfortunate expedition, consisting at the start of eight ships, was sent under the command of George Anson at the beginning of the war with Spain, to harass the Spaniards on the western coast of South America. Seven ships were lost around Cape Horn and on the coast of Chile and out of 900 men, 600 perished. The primary object of the expedition was not attained, but by the capture of the Manila Galleon near China, Anson and the surviving members of his crew reached England much the richer. This account is the official one… It is a model of what such literature should be.” (Cox I, 49) Paper Size ~ 17 1/4" by 11 1/4"

Lot: 36803 - Laplace - Ile-de-France; Fort-Louis a l'Ile de France

This historic engraving is from Cyrille Pierre Theodore Laplace's Voyage around the world by the seas of India and China of the corvette of Her Majesty La Favorite executed during the 1830s, 1831 and 1832 under the command of Mr. Laplace, Commander. The work was published under the direction of M. de Sainson in Paris by Arthus Bertrand in 1835. The work included beautiful views of Reunion Island and Mauritius, Singapore, Manila, Sydney and Rio de Janeiro. The work has been described as "perhaps the finest series of plates to any of the picturesque voyages" (Sabin 38985) and "...sumptuous.... They are some of the most beautiful plates of the kind in existence..." (Borba de Moraes p. 458) Captain Laplace began is around the world voyage from Toulon on December 30, 1829 aboard the corvette La Favorite. He was commissioned to circumnavigate the globe by the French government. He passed through Gibralter, Goree, Cape of Good Hope, Mauritius, Saint-Louis de la Reunion, Indies, Singapore, Manila, Canton, Indonesia, Sydney, New Zealand, Vaplparaiso Cape Horn, and Rio de Janeiro before returning to Toulon on April 21, 1832. "In December 1829, Laplace was commissioned to take an expedition to India, the East Indies and South East Asia, and then, if he chose to do so, proceed through the South Pacific. His instructions were to provide protection for French merchant vessels and obtain at each port-of-call information which might be of value to French trade." (Hill) "From the scientific viewpoint, Laplace’s voyage was one of the most successful. The maps made from surveys in the Pacific and the collections which were assembled became famous during that period." (Borba de Moraes)

Lot: 36804 - Laplace - Rio de Janeiro, Brazil; Rio-Janeiro

This historic engraving is from Cyrille Pierre Theodore Laplace's Voyage around the world by the seas of India and China of the corvette of Her Majesty La Favorite executed during the 1830s, 1831 and 1832 under the command of Mr. Laplace, Commander. The work was published under the direction of M. de Sainson in Paris by Arthus Bertrand in 1835. The work included beautiful views of Reunion Island and Mauritius, Singapore, Manila, Sydney and Rio de Janeiro. The work has been described as "perhaps the finest series of plates to any of the picturesque voyages" (Sabin 38985) and "...sumptuous.... They are some of the most beautiful plates of the kind in existence..." (Borba de Moraes p. 458) Captain Laplace began is around the world voyage from Toulon on December 30, 1829 aboard the corvette La Favorite. He was commissioned to circumnavigate the globe by the French government. He passed through Gibralter, Goree, Cape of Good Hope, Mauritius, Saint-Louis de la Reunion, Indies, Singapore, Manila, Canton, Indonesia, Sydney, New Zealand, Vaplparaiso Cape Horn, and Rio de Janeiro before returning to Toulon on April 21, 1832. "In December 1829, Laplace was commissioned to take an expedition to India, the East Indies and South East Asia, and then, if he chose to do so, proceed through the South Pacific. His instructions were to provide protection for French merchant vessels and obtain at each port-of-call information which might be of value to French trade." (Hill) "From the scientific viewpoint, Laplace’s voyage was one of the most successful. The maps made from surveys in the Pacific and the collections which were assembled became famous during that period." (Borba de Moraes)

Lot: 36805 - Laplace - Goree, Dakar, Senegal; Ile-De-Goree

This historic engraving is from Cyrille Pierre Theodore Laplace's Voyage around the world by the seas of India and China of the corvette of Her Majesty La Favorite executed during the 1830s, 1831 and 1832 under the command of Mr. Laplace, Commander. The work was published under the direction of M. de Sainson in Paris by Arthus Bertrand in 1835. The work included beautiful views of Reunion Island and Mauritius, Singapore, Manila, Sydney and Rio de Janeiro. The work has been described as "perhaps the finest series of plates to any of the picturesque voyages" (Sabin 38985) and "...sumptuous.... They are some of the most beautiful plates of the kind in existence..." (Borba de Moraes p. 458) Captain Laplace began is around the world voyage from Toulon on December 30, 1829 aboard the corvette La Favorite. He was commissioned to circumnavigate the globe by the French government. He passed through Gibralter, Goree, Cape of Good Hope, Mauritius, Saint-Louis de la Reunion, Indies, Singapore, Manila, Canton, Indonesia, Sydney, New Zealand, Vaplparaiso Cape Horn, and Rio de Janeiro before returning to Toulon on April 21, 1832. "In December 1829, Laplace was commissioned to take an expedition to India, the East Indies and South East Asia, and then, if he chose to do so, proceed through the South Pacific. His instructions were to provide protection for French merchant vessels and obtain at each port-of-call information which might be of value to French trade." (Hill) "From the scientific viewpoint, Laplace’s voyage was one of the most successful. The maps made from surveys in the Pacific and the collections which were assembled became famous during that period." (Borba de Moraes)

Lot: 36806 - Laplace - Macao, China

This historic engraving is from Cyrille Pierre Theodore Laplace's Voyage around the world by the seas of India and China of the corvette of Her Majesty La Favorite executed during the 1830s, 1831 and 1832 under the command of Mr. Laplace, Commander. The work was published under the direction of M. de Sainson in Paris by Arthus Bertrand in 1835. The work included beautiful views of Reunion Island and Mauritius, Singapore, Manila, Sydney and Rio de Janeiro. The work has been described as "perhaps the finest series of plates to any of the picturesque voyages" (Sabin 38985) and "...sumptuous.... They are some of the most beautiful plates of the kind in existence..." (Borba de Moraes p. 458) Captain Laplace began is around the world voyage from Toulon on December 30, 1829 aboard the corvette La Favorite. He was commissioned to circumnavigate the globe by the French government. He passed through Gibralter, Goree, Cape of Good Hope, Mauritius, Saint-Louis de la Reunion, Indies, Singapore, Manila, Canton, Indonesia, Sydney, New Zealand, Vaplparaiso Cape Horn, and Rio de Janeiro before returning to Toulon on April 21, 1832. "In December 1829, Laplace was commissioned to take an expedition to India, the East Indies and South East Asia, and then, if he chose to do so, proceed through the South Pacific. His instructions were to provide protection for French merchant vessels and obtain at each port-of-call information which might be of value to French trade." (Hill) "From the scientific viewpoint, Laplace’s voyage was one of the most successful. The maps made from surveys in the Pacific and the collections which were assembled became famous during that period." (Borba de Moraes)

Lot: 36807 - Laplace - Ship (La Favorite) at Sea; Echouage de la Favorite sur la fausse pointe Divy

This historic engraving is from Cyrille Pierre Theodore Laplace's Voyage around the world by the seas of India and China of the corvette of Her Majesty La Favorite executed during the 1830s, 1831 and 1832 under the command of Mr. Laplace, Commander. The work was published under the direction of M. de Sainson in Paris by Arthus Bertrand in 1835. The work included beautiful views of Reunion Island and Mauritius, Singapore, Manila, Sydney and Rio de Janeiro. The work has been described as "perhaps the finest series of plates to any of the picturesque voyages" (Sabin 38985) and "...sumptuous.... They are some of the most beautiful plates of the kind in existence..." (Borba de Moraes p. 458) Captain Laplace began is around the world voyage from Toulon on December 30, 1829 aboard the corvette La Favorite. He was commissioned to circumnavigate the globe by the French government. He passed through Gibralter, Goree, Cape of Good Hope, Mauritius, Saint-Louis de la Reunion, Indies, Singapore, Manila, Canton, Indonesia, Sydney, New Zealand, Vaplparaiso Cape Horn, and Rio de Janeiro before returning to Toulon on April 21, 1832. "In December 1829, Laplace was commissioned to take an expedition to India, the East Indies and South East Asia, and then, if he chose to do so, proceed through the South Pacific. His instructions were to provide protection for French merchant vessels and obtain at each port-of-call information which might be of value to French trade." (Hill) "From the scientific viewpoint, Laplace’s voyage was one of the most successful. The maps made from surveys in the Pacific and the collections which were assembled became famous during that period." (Borba de Moraes)

Lot: 36808 - Laplace - Ship (La Favorite) at Sea; La Favorite en route pour Bourbon au commencement de l'ouragan

This historic engraving is from Cyrille Pierre Theodore Laplace's Voyage around the world by the seas of India and China of the corvette of Her Majesty La Favorite executed during the 1830s, 1831 and 1832 under the command of Mr. Laplace, Commander. The work was published under the direction of M. de Sainson in Paris by Arthus Bertrand in 1835. The work included beautiful views of Reunion Island and Mauritius, Singapore, Manila, Sydney and Rio de Janeiro. The work has been described as "perhaps the finest series of plates to any of the picturesque voyages" (Sabin 38985) and "...sumptuous.... They are some of the most beautiful plates of the kind in existence..." (Borba de Moraes p. 458) Captain Laplace began is around the world voyage from Toulon on December 30, 1829 aboard the corvette La Favorite. He was commissioned to circumnavigate the globe by the French government. He passed through Gibralter, Goree, Cape of Good Hope, Mauritius, Saint-Louis de la Reunion, Indies, Singapore, Manila, Canton, Indonesia, Sydney, New Zealand, Vaplparaiso Cape Horn, and Rio de Janeiro before returning to Toulon on April 21, 1832. "In December 1829, Laplace was commissioned to take an expedition to India, the East Indies and South East Asia, and then, if he chose to do so, proceed through the South Pacific. His instructions were to provide protection for French merchant vessels and obtain at each port-of-call information which might be of value to French trade." (Hill) "From the scientific viewpoint, Laplace’s voyage was one of the most successful. The maps made from surveys in the Pacific and the collections which were assembled became famous during that period." (Borba de Moraes)

Lot: 36809 - De Bry - Latin America - Spanish in rowboats pursue French ships in the harbor of Havana, Cuba. Some of the boats capsize and the sailors drown or swim to shore.

This enthralling engraving is from Theodor De Bry's significant historical work Grands Voyages. This from the German edition with this particular engraving being published in Frankfurt between 1590 and 1594 for de Bry by J. Feyrabend. Grands Voyages is considered one of the most remarkable collections of voyages published in the Age of Discovery. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. Hakluyt helped de Bry obtain paintings from the New World as well as giving him a copy of Hariot's Virginia. Many of the original paintings of America were done by Jacques Le Moynes de Morgues and John White then transferred to copper plates by de Bry. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 36810 - De Bry - Latin America - Native Americans attack ships from canoes or boats on the island of Cubagua

This enthralling engraving is from Theodor De Bry's significant historical work Grands Voyages. This from the German edition with this particular engraving being published in Frankfurt between 1590 and 1594 for de Bry by J. Feyrabend. Grands Voyages is considered one of the most remarkable collections of voyages published in the Age of Discovery. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. Hakluyt helped de Bry obtain paintings from the New World as well as giving him a copy of Hariot's Virginia. Many of the original paintings of America were done by Jacques Le Moynes de Morgues and John White then transferred to copper plates by de Bry. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 36811 - De Bry - Brazil - How they deal with Aygnan, the Devil (Demons and Sea Monsters)

This enthralling engraving is from Theodor De Bry's significant historical work Grands Voyages. This from the German edition with this particular engraving being published in Frankfurt between 1590 and 1594 for de Bry by J. Feyrabend. Grands Voyages is considered one of the most remarkable collections of voyages published in the Age of Discovery. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. Hakluyt helped de Bry obtain paintings from the New World as well as giving him a copy of Hariot's Virginia. Many of the original paintings of America were done by Jacques Le Moynes de Morgues and John White then transferred to copper plates by de Bry. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 36812 - De Bry - Caribbean and Central America - The beginning of Girolamo Benzoni's voyage to the West Indies

This enthralling engraving is from Theodor De Bry's significant historical work Grands Voyages. This from the German edition with this particular engraving being published in Frankfurt between 1590 and 1594 for de Bry by J. Feyrabend. Grands Voyages is considered one of the most remarkable collections of voyages published in the Age of Discovery. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. Hakluyt helped de Bry obtain paintings from the New World as well as giving him a copy of Hariot's Virginia. Many of the original paintings of America were done by Jacques Le Moynes de Morgues and John White then transferred to copper plates by de Bry. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 36813 - De Bry - Caribbean and Central America - The cruelty of Pedro de Calice against the Indians

This enthralling engraving is from Theodor De Bry's significant historical work Grands Voyages. This from the German edition with this particular engraving being published in Frankfurt between 1590 and 1594 for de Bry by J. Feyrabend. Grands Voyages is considered one of the most remarkable collections of voyages published in the Age of Discovery. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. Hakluyt helped de Bry obtain paintings from the New World as well as giving him a copy of Hariot's Virginia. Many of the original paintings of America were done by Jacques Le Moynes de Morgues and John White then transferred to copper plates by de Bry. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 36814 - De Bry - Caribbean and Central America - Frontispiece of Volume IV

This enthralling engraving is from Theodor De Bry's significant historical work Grands Voyages. This from the German edition with this particular engraving being published in Frankfurt between 1590 and 1594 for de Bry by J. Feyrabend. Grands Voyages is considered one of the most remarkable collections of voyages published in the Age of Discovery. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. Hakluyt helped de Bry obtain paintings from the New World as well as giving him a copy of Hariot's Virginia. Many of the original paintings of America were done by Jacques Le Moynes de Morgues and John White then transferred to copper plates by de Bry. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 36815 - McKenney & Hall, Folio - Timpoochee Barnard, An Uchee Warrior

This historic folio, Native American lithograph is from Thomas L. McKenney & James Hall’s History of the Indian Tribes of North America. The work was published in Philadelphia by Frederick W. Greenough in 1836. An admirer and supporter of the American Indians, Thomas McKenney spent his tenure in office fighting for their cause and preserving their legacy through a gallery of paintings that were commissioned by various artists. Unfortunately, the original paintings burned in a fire, and all that is left to remember these Indians are the lithographs found in History which were modeled off the paintings. Charles Bird King was an American portrait painter that was commissioned by McKenney to paint the portraits of the Indians. King made many of the 143 paintings from which the lithographs were created.

Lot: 36816 - McKenney & Hall, Folio - Tustennuggee Emathla, or Jim Boy A Creek Chief

This historic folio, Native American lithograph is from Thomas L. McKenney & James Hall’s History of the Indian Tribes of North America. The work was published in Philadelphia by Frederick W. Greenough in 1836. An admirer and supporter of the American Indians, Thomas McKenney spent his tenure in office fighting for their cause and preserving their legacy through a gallery of paintings that were commissioned by various artists. Unfortunately, the original paintings burned in a fire, and all that is left to remember these Indians are the lithographs found in History which were modeled off the paintings. Charles Bird King was an American portrait painter that was commissioned by McKenney to paint the portraits of the Indians. King made many of the 143 paintings from which the lithographs were created.

Lot: 36817 - McKenney & Hall, Folio - Ma-Has-Kah or White Cloud, An Ioway Chief

This historic folio, Native American lithograph is from Thomas L. McKenney & James Hall’s History of the Indian Tribes of North America. The work was published in Philadelphia by Frederick W. Greenough in 1836. An admirer and supporter of the American Indians, Thomas McKenney spent his tenure in office fighting for their cause and preserving their legacy through a gallery of paintings that were commissioned by various artists. Unfortunately, the original paintings burned in a fire, and all that is left to remember these Indians are the lithographs found in History which were modeled off the paintings. Charles Bird King was an American portrait painter that was commissioned by McKenney to paint the portraits of the Indians. King made many of the 143 paintings from which the lithographs were created.

Lot: 36818 - McKenney & Hall, Folio - McIntosh, A Creek Chief

This historic folio, Native American lithograph is from Thomas L. McKenney & James Hall’s History of the Indian Tribes of North America. The work was published in Philadelphia by Frederick W. Greenough in 1836. An admirer and supporter of the American Indians, Thomas McKenney spent his tenure in office fighting for their cause and preserving their legacy through a gallery of paintings that were commissioned by various artists. Unfortunately, the original paintings burned in a fire, and all that is left to remember these Indians are the lithographs found in History which were modeled off the paintings. Charles Bird King was an American portrait painter that was commissioned by McKenney to paint the portraits of the Indians. King made many of the 143 paintings from which the lithographs were created.

Lot: 36819 - Hamilton - 6 Engravings of Paintings from a Grecian Vase

This hand-colored engraving on laid paper is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Collection Of Engravings From Ancient Vases Of Greek Workmanship: Discoverd In Sepulchres In The Kingdom Of The Two Sicilies But Chiefly In The Neighbourhood Of Naples During The Course Of The Years MDCCLXXXIX and MDCCLXXXX Now In The Possession Of Sir Wm. Hamilton, His Britannic Maiesty's Envoy Extry. And Plenipotentiary At The Court Of Naples. The work was published in Florence by Societe Chalcographique between 1800 and 1803. This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.

Lot: 36820 - Piranesi - Campo Marzio (Tempio di Giunone Regina, ora S. Angelo in Pescheria)

This fine architectural engraving is from Giovanni Battista Piranesi's Varie vedute di Roma antica, e moderna. Disegnate e intagliate da celebri autori. The work was published in Rome for Fausto Amidei in 1748. The engravings in the work were signed by Piranesi, Bellicard, Le Geay, and Anesi. The work was a survey of the buildings of Rome and are amongst some of the earliest topographical engravings from Piranesi. (Jahrbuch 1953) Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127)

Lot: 36821 - Piranesi - Circus of Maxentius (Circo di Caracalla)

This fine architectural engraving is from Giovanni Battista Piranesi's Varie vedute di Roma antica, e moderna. Disegnate e intagliate da celebri autori. The work was published in Rome for Fausto Amidei in 1748. The engravings in the work were signed by Piranesi, Bellicard, Le Geay, and Anesi. The work was a survey of the buildings of Rome and are amongst some of the earliest topographical engravings from Piranesi. (Jahrbuch 1953) Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127)

Lot: 36822 - Piranesi - Arch of Nero Drusus & Aqueduct of Caracalla (Arco di Nerone Druso con gl'Aquedotti di Caracalla)

This fine architectural engraving is from Giovanni Battista Piranesi's Varie vedute di Roma antica, e moderna. Disegnate e intagliate da celebri autori. The work was published in Rome for Fausto Amidei in 1748. The engravings in the work were signed by Piranesi, Bellicard, Le Geay, and Anesi. The work was a survey of the buildings of Rome and are amongst some of the earliest topographical engravings from Piranesi. (Jahrbuch 1953) Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127)

Lot: 36823 - Piranesi - View of the Arch of Galienus (Veduta dell'Arco di Gallieno)

This fine architectural engraving is from Giovanni Battista Piranesi's Varie vedute di Roma antica, e moderna. Disegnate e intagliate da celebri autori. The work was published in Rome for Fausto Amidei in 1748. The engravings in the work were signed by Piranesi, Bellicard, Le Geay, and Anesi. The work was a survey of the buildings of Rome and are amongst some of the earliest topographical engravings from Piranesi. (Jahrbuch 1953) Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127)

Lot: 36824 - Piranesi, Rare Folio - The Bas-reliefs with lions [Reference Robison 44 (II/III)]

This outsanding folio etching is from Giovanni Battista Piranesi's Carceri d’Invenzione. The work was published between 1749 and 1770. This etching was part of a second edition publication that included proofs of the third and fourth issues. The etchings were completed with engraving and dry point and are mitre-mounted on laid paper, and the edition darkened certain backgrounds and details

Lot: 36825 - Lubieniecki - Cetus or Sea Monster Constellation. 57

This fascinating celestial engraving is from Stanislaw Lubieniecki's Theatrum cometicum, duabus partibus constans. 1. Quarum prior continet epistolas & communicationes variorum per Europam clarissimorum virorum, cum quibus auctor de hoc argumento contulit... 2. Posterior exhibet historiam universalem omnium cometarum a tempore Diluvii ad ann. 1665... The work was published in Amsterdam by Franciscum Cuperum in 1668. This is from the first edition of the work which included several celestial plates depicting constellations, orbits, comets, and more. The engravings were completed by Stopendaal, Gerardi, Gerritsz, and others after illustrations and observations by M.C. Isenius and others. Lubieniecki corresponded with several leading astronomers of the day to compile this work including Guericke, Hevelius, and Schott. "Since each map represents the observations of a different astronomer, taken together they illustrate the variety of cartographic traditions popular during the seventeenth century. On many of the maps the choice of constellations, of constellation style, and of constellation names are strongly reminiscent of the celestial globes of Blaeu and Hondius. Several other maps carry the Judaeo-Christian constellations introduced by Plancius. From Rome, Kircher sent a map derived from those of Grienberger. On only a few maps are the stars identified by Bayer letters. None of the maps reflects any of the traditions popular during the previous century." (Warner, The sky explored, p 164) Stanislaw Lubieniecki (1623-1675) was born in Rakow (now in Germany). He studied astronomy, with a particular focus on comets. He also completed a work on the Polish Reformation entitled Historia Reformationis Polonicae.

Lot: 36826 - Lubieniecki - Constellations, Celestial Chart. 6

This fascinating celestial engraving is from Stanislaw Lubieniecki's Theatrum cometicum, duabus partibus constans. 1. Quarum prior continet epistolas & communicationes variorum per Europam clarissimorum virorum, cum quibus auctor de hoc argumento contulit... 2. Posterior exhibet historiam universalem omnium cometarum a tempore Diluvii ad ann. 1665... The work was published in Amsterdam by Franciscum Cuperum in 1668. This is from the first edition of the work which included several celestial plates depicting constellations, orbits, comets, and more. The engravings were completed by Stopendaal, Gerardi, Gerritsz, and others after illustrations and observations by M.C. Isenius and others. Lubieniecki corresponded with several leading astronomers of the day to compile this work including Guericke, Hevelius, and Schott. "Since each map represents the observations of a different astronomer, taken together they illustrate the variety of cartographic traditions popular during the seventeenth century. On many of the maps the choice of constellations, of constellation style, and of constellation names are strongly reminiscent of the celestial globes of Blaeu and Hondius. Several other maps carry the Judaeo-Christian constellations introduced by Plancius. From Rome, Kircher sent a map derived from those of Grienberger. On only a few maps are the stars identified by Bayer letters. None of the maps reflects any of the traditions popular during the previous century." (Warner, The sky explored, p 164) Stanislaw Lubieniecki (1623-1675) was born in Rakow (now in Germany). He studied astronomy, with a particular focus on comets. He also completed a work on the Polish Reformation entitled Historia Reformationis Polonicae.

Lot: 36827 - Lubieniecki - Constellations, Celestial Chart. 19

This fascinating celestial engraving is from Stanislaw Lubieniecki's Theatrum cometicum, duabus partibus constans. 1. Quarum prior continet epistolas & communicationes variorum per Europam clarissimorum virorum, cum quibus auctor de hoc argumento contulit... 2. Posterior exhibet historiam universalem omnium cometarum a tempore Diluvii ad ann. 1665... The work was published in Amsterdam by Franciscum Cuperum in 1668. This is from the first edition of the work which included several celestial plates depicting constellations, orbits, comets, and more. The engravings were completed by Stopendaal, Gerardi, Gerritsz, and others after illustrations and observations by M.C. Isenius and others. Lubieniecki corresponded with several leading astronomers of the day to compile this work including Guericke, Hevelius, and Schott. "Since each map represents the observations of a different astronomer, taken together they illustrate the variety of cartographic traditions popular during the seventeenth century. On many of the maps the choice of constellations, of constellation style, and of constellation names are strongly reminiscent of the celestial globes of Blaeu and Hondius. Several other maps carry the Judaeo-Christian constellations introduced by Plancius. From Rome, Kircher sent a map derived from those of Grienberger. On only a few maps are the stars identified by Bayer letters. None of the maps reflects any of the traditions popular during the previous century." (Warner, The sky explored, p 164) Stanislaw Lubieniecki (1623-1675) was born in Rakow (now in Germany). He studied astronomy, with a particular focus on comets. He also completed a work on the Polish Reformation entitled Historia Reformationis Polonicae.

Lot: 36828 - Lubieniecki - Constellations, Celestial Chart. 39

This fascinating celestial engraving is from Stanislaw Lubieniecki's Theatrum cometicum, duabus partibus constans. 1. Quarum prior continet epistolas & communicationes variorum per Europam clarissimorum virorum, cum quibus auctor de hoc argumento contulit... 2. Posterior exhibet historiam universalem omnium cometarum a tempore Diluvii ad ann. 1665... The work was published in Amsterdam by Franciscum Cuperum in 1668. This is from the first edition of the work which included several celestial plates depicting constellations, orbits, comets, and more. The engravings were completed by Stopendaal, Gerardi, Gerritsz, and others after illustrations and observations by M.C. Isenius and others. Lubieniecki corresponded with several leading astronomers of the day to compile this work including Guericke, Hevelius, and Schott. "Since each map represents the observations of a different astronomer, taken together they illustrate the variety of cartographic traditions popular during the seventeenth century. On many of the maps the choice of constellations, of constellation style, and of constellation names are strongly reminiscent of the celestial globes of Blaeu and Hondius. Several other maps carry the Judaeo-Christian constellations introduced by Plancius. From Rome, Kircher sent a map derived from those of Grienberger. On only a few maps are the stars identified by Bayer letters. None of the maps reflects any of the traditions popular during the previous century." (Warner, The sky explored, p 164) Stanislaw Lubieniecki (1623-1675) was born in Rakow (now in Germany). He studied astronomy, with a particular focus on comets. He also completed a work on the Polish Reformation entitled Historia Reformationis Polonicae.

Lot: 36829 - Kircher, pub. 1665 - Mount Vesuvius Erupting

This extraordinary first edition engraving is from Athanasius Kirchir's Mundus Subterraneus, in XII libros digestus, quo divinum subterrestris mundi opificium, mira ergasteriorum naturae in eo distributio [...] The work was published by J. Janssonius & Elizeum Weyerstraten in 1665 in Amsterdam. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 36830 - Ortelius, Folio, pub. 1581 - Map of Northern Italy

This exceptional early map is from Abraham Ortelius's Theatre de L'Univers contenant les cartes de tout le monde... This is the first French edition of his celebrated atlas Theatrum Orbis Terrarum which was first published in Latin in 1570. The work was published by Christofle Plantin for Ortelius between 1581 and 1582 in Anvers (Antwerp), Belgium. The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Theatrum Orbis Terrarum was considered the "first true atlas" ever published. (van der Broecke) "The publication of this atlas [Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Abraham Ortelius (1527-1598) was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain.

Lot: 36831 - Ortelius, Folio, pub. 1581 - Map of Picardie Region, France

This exceptional early map is from Abraham Ortelius's Theatre de L'Univers contenant les cartes de tout le monde... This is the first French edition of his celebrated atlas Theatrum Orbis Terrarum which was first published in Latin in 1570. The work was published by Christofle Plantin for Ortelius between 1581 and 1582 in Anvers (Antwerp), Belgium. The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Theatrum Orbis Terrarum was considered the "first true atlas" ever published. (van der Broecke) "The publication of this atlas [Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Abraham Ortelius (1527-1598) was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain.

Lot: 36832 - Ortelius, Folio, pub. 1581 - Map of Westphalia & Saxony, Germany

This exceptional early map is from Abraham Ortelius's Theatre de L'Univers contenant les cartes de tout le monde... This is the first French edition of his celebrated atlas Theatrum Orbis Terrarum which was first published in Latin in 1570. The work was published by Christofle Plantin for Ortelius between 1581 and 1582 in Anvers (Antwerp), Belgium. The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Theatrum Orbis Terrarum was considered the "first true atlas" ever published. (van der Broecke) "The publication of this atlas [Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Abraham Ortelius (1527-1598) was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain.

Lot: 36833 - Ortelius, Folio, pub. 1581 - Map of Persia

This exceptional early map is from Abraham Ortelius's Theatre de L'Univers contenant les cartes de tout le monde... This is the first French edition of his celebrated atlas Theatrum Orbis Terrarum which was first published in Latin in 1570. The work was published by Christofle Plantin for Ortelius between 1581 and 1582 in Anvers (Antwerp), Belgium. The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Theatrum Orbis Terrarum was considered the "first true atlas" ever published. (van der Broecke) "The publication of this atlas [Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Abraham Ortelius (1527-1598) was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain.

Lot: 36834 - Ptolemy, Folio, pub. 1525 - Map of Greece, Bulgaria and part of Europe & Asia

This engraving is from Claudius Ptolemy's Geographicae Enarrationis Libri Octo Bilibaldo Pirckeymhero Interprete, Annotationes Joannis de Regio Monte in Errores Commissos a Jacobo Angelo in Translatione Sua. The work was published in 1525 for Johann Koberger by Johann Grüninger, using the woodblocks of the first Grüninger edition of 1522. This is considered the Fourth Strassburg edition of Ptolemy. This work is considered a later published ediiton of Ptolemy (Ptolemaeus)’s Geographia. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477.

Lot: 36835 - Ptolemy, Folio, pub. 1525 - Map of Italy

This engraving is from Claudius Ptolemy's Geographicae Enarrationis Libri Octo Bilibaldo Pirckeymhero Interprete, Annotationes Joannis de Regio Monte in Errores Commissos a Jacobo Angelo in Translatione Sua. The work was published in 1525 for Johann Koberger by Johann Grüninger, using the woodblocks of the first Grüninger edition of 1522. This is considered the Fourth Strassburg edition of Ptolemy. This work is considered a later published ediiton of Ptolemy (Ptolemaeus)’s Geographia. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477.

Lot: 36836 - Ptolemy, Folio, pub. 1525 - Map of the British Isles (United Kingdom - England, Scotland, Ireland)

This engraving is from Claudius Ptolemy's Geographicae Enarrationis Libri Octo Bilibaldo Pirckeymhero Interprete, Annotationes Joannis de Regio Monte in Errores Commissos a Jacobo Angelo in Translatione Sua. The work was published in 1525 for Johann Koberger by Johann Grüninger, using the woodblocks of the first Grüninger edition of 1522. This is considered the Fourth Strassburg edition of Ptolemy. This work is considered a later published ediiton of Ptolemy (Ptolemaeus)’s Geographia. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477.

Lot: 36837 - Ptolemy, Folio, pub. 1525 - Map of the Holy Land

This engraving is from Claudius Ptolemy's Geographicae Enarrationis Libri Octo Bilibaldo Pirckeymhero Interprete, Annotationes Joannis de Regio Monte in Errores Commissos a Jacobo Angelo in Translatione Sua. The work was published in 1525 for Johann Koberger by Johann Grüninger, using the woodblocks of the first Grüninger edition of 1522. This is considered the Fourth Strassburg edition of Ptolemy. This work is considered a later published ediiton of Ptolemy (Ptolemaeus)’s Geographia. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477.

Lot: 36838 - Ptolemy, Folio, pub. 1525 - Map of North Africa

This engraving is from Claudius Ptolemy's Geographicae Enarrationis Libri Octo Bilibaldo Pirckeymhero Interprete, Annotationes Joannis de Regio Monte in Errores Commissos a Jacobo Angelo in Translatione Sua. The work was published in 1525 for Johann Koberger by Johann Grüninger, using the woodblocks of the first Grüninger edition of 1522. This is considered the Fourth Strassburg edition of Ptolemy. This work is considered a later published ediiton of Ptolemy (Ptolemaeus)’s Geographia. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477.

Lot: 36839 - Ptolemy, Folio, pub. 1525 - Map of South Africa

This engraving is from Claudius Ptolemy's Geographicae Enarrationis Libri Octo Bilibaldo Pirckeymhero Interprete, Annotationes Joannis de Regio Monte in Errores Commissos a Jacobo Angelo in Translatione Sua. The work was published in 1525 for Johann Koberger by Johann Grüninger, using the woodblocks of the first Grüninger edition of 1522. This is considered the Fourth Strassburg edition of Ptolemy. This work is considered a later published ediiton of Ptolemy (Ptolemaeus)’s Geographia. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477.

Lot: 36840 - Carey - Map of Connecticut

This fine map engraving is from Mathew Carey's Carey's American Pocket Atlas; Containing The Following Maps... With A Concise Description Of Each State. The work was published in Philadelphia by Lang and Ustick for Carey in 1805. This was an important early American Atlas showing the early states and the developing landscape of America to that point. "Following the Revolution, there was considerable activity in the United States by American mapmakers and publishers. One of them, Mathew Carey, was a pioneer in producing cartographic works..." (Ristow) Mathew Carey (1760-1839) was one of the most important figures of early American cartography. He was an Irish immigrant that established the first American cartographic publishing firm. He recruited craftsman for engraving, printing, and coloring of his maps.

Lot: 36841 - Carey - Map of Maryland

This fine map engraving is from Mathew Carey's Carey's American Pocket Atlas; Containing The Following Maps... With A Concise Description Of Each State. The work was published in Philadelphia by Lang and Ustick for Carey in 1805. This was an important early American Atlas showing the early states and the developing landscape of America to that point. "Following the Revolution, there was considerable activity in the United States by American mapmakers and publishers. One of them, Mathew Carey, was a pioneer in producing cartographic works..." (Ristow) Mathew Carey (1760-1839) was one of the most important figures of early American cartography. He was an Irish immigrant that established the first American cartographic publishing firm. He recruited craftsman for engraving, printing, and coloring of his maps.

Lot: 36842 - Carey - Map of Massachusetts

This fine map engraving is from Mathew Carey's Carey's American Pocket Atlas; Containing The Following Maps... With A Concise Description Of Each State. The work was published in Philadelphia by Lang and Ustick for Carey in 1805. This was an important early American Atlas showing the early states and the developing landscape of America to that point. "Following the Revolution, there was considerable activity in the United States by American mapmakers and publishers. One of them, Mathew Carey, was a pioneer in producing cartographic works..." (Ristow) Mathew Carey (1760-1839) was one of the most important figures of early American cartography. He was an Irish immigrant that established the first American cartographic publishing firm. He recruited craftsman for engraving, printing, and coloring of his maps.

Lot: 36843 - Carey - Map of Virginia

This fine map engraving is from Mathew Carey's Carey's American Pocket Atlas; Containing The Following Maps... With A Concise Description Of Each State. The work was published in Philadelphia by Lang and Ustick for Carey in 1805. This was an important early American Atlas showing the early states and the developing landscape of America to that point. "Following the Revolution, there was considerable activity in the United States by American mapmakers and publishers. One of them, Mathew Carey, was a pioneer in producing cartographic works..." (Ristow) Mathew Carey (1760-1839) was one of the most important figures of early American cartography. He was an Irish immigrant that established the first American cartographic publishing firm. He recruited craftsman for engraving, printing, and coloring of his maps.

Lot: 36844 - Carey - Map of Georgia

This fine map engraving is from Mathew Carey's Carey's American Pocket Atlas; Containing The Following Maps... With A Concise Description Of Each State. The work was published in Philadelphia by Lang and Ustick for Carey in 1805. This was an important early American Atlas showing the early states and the developing landscape of America to that point. "Following the Revolution, there was considerable activity in the United States by American mapmakers and publishers. One of them, Mathew Carey, was a pioneer in producing cartographic works..." (Ristow) Mathew Carey (1760-1839) was one of the most important figures of early American cartography. He was an Irish immigrant that established the first American cartographic publishing firm. He recruited craftsman for engraving, printing, and coloring of his maps.

Lot: 36845 - Jefferys - A New Map of the Province of Quebec, according to the Royal Proclamation, of the 7th of October 1763. From the French Surveys Connected with those made after the War, by Captain Carver, and Other Officers

This important map is from Thomas Jefferys's The American Atlas: or, a geographical description of the whole continent of America: wherein are delineated at large its several regions, countries, states, and islands; and chiefly the British Colonies. The work was published in London in 1776 by R. Sayer and J. Bennett. Each engraving features original outline color. This is considered the most important 18th century atlas of America: a "geographical description of the whole continent of America, as portrayed in the best available maps in the latter half of the eighteenth century ... as a major cartographic reference work it was, very likely, consulted by American, English, and French civilian administrators and military officers during the Revolution." (Ristow) The atlas served as the most comprehensive account of the colonies at the dawn of the American Revolution. The atlas is of note for including Brassier's map of Lake Champlain, Braddock Meade's A Map of the Most Inhabited Parts of New England (largest and most detailed to that date), Samuel Holland's The Provinces of New York and New Jersey, William Scull's A Map of Pennsylvania (first to include the western portion), Joshua Fry and Peter Jefferson's A Map of the Most Inhabited Part of Virginia (best to date for the Chesapeake Region), and Lt. Ross's Course of the Mississippi (first chart of the river based on English sources). Also of note that was added to this 1776 edition is A new Map of the Province of Quebec. Thomas Jefferys (1719-1771) was a leading English cartographer. He produced some of the most significant maps of the English / Americcan colonies. He was the appointed Geographer to the Prince of Wales and eventually to the King (1761). His official appointments granted him access to some of the very best surveys and were often considered "official work" for England. Robert Sayer and John Bennett were Jefferys successors and compiled this 1776 edition of The American Atlas.

Lot: 36846 - Jefferys - The Coast of West Florida and Louisiana ... The Peninsula and Gulf of Florida

A large-scale map of Florida, based upon the extensive surveys conducted after the region became an English possession following the 1763 Treaty of Paris. This important map is from Thomas Jefferys's The American Atlas: or, a geographical description of the whole continent of America: wherein are delineated at large its several regions, countries, states, and islands; and chiefly the British Colonies. The work was published in London in 1776 by R. Sayer and J. Bennett. Each engraving features original outline color. This is considered the most important 18th century atlas of America: a "geographical description of the whole continent of America, as portrayed in the best available maps in the latter half of the eighteenth century ... as a major cartographic reference work it was, very likely, consulted by American, English, and French civilian administrators and military officers during the Revolution." (Ristow) The atlas served as the most comprehensive account of the colonies at the dawn of the American Revolution. The atlas is of note for including Brassier's map of Lake Champlain, Braddock Meade's A Map of the Most Inhabited Parts of New England (largest and most detailed to that date), Samuel Holland's The Provinces of New York and New Jersey, William Scull's A Map of Pennsylvania (first to include the western portion), Joshua Fry and Peter Jefferson's A Map of the Most Inhabited Part of Virginia (best to date for the Chesapeake Region), and Lt. Ross's Course of the Mississippi (first chart of the river based on English sources). Also of note that was added to this 1776 edition is A new Map of the Province of Quebec. Thomas Jefferys (1719-1771) was a leading English cartographer. He produced some of the most significant maps of the English / Americcan colonies. He was the appointed Geographer to the Prince of Wales and eventually to the King (1761). His official appointments granted him access to some of the very best surveys and were often considered "official work" for England. Robert Sayer and John Bennett were Jefferys successors and compiled this 1776 edition of The American Atlas.

Lot: 36847 - Duperrey - Map of the World focuses on the Equator (Configuration de l'Equateur Magnetique)

This folio, hand-colored engraving is from Louis-Isidore Duperrey's Voyage autour du monde, sur la corvette La Coquille, pendant les années 1822-25, sous le ministère et conformement aux instructions de ... ministre de la marine; et publié sous les auspices de M. le Cte. de Chabrol, ministre de la marine et des Colonies. The work was published in Paris by by Firmin Didot for A. Bertrans between 1826 and 1830. The work illustrated costumes, landscapes, and exotic animals encountered on the voyage. The voyage, led by Duperrey, concentrated on the exploration of the Pacific. He had 'already circumnavigated the globe under Freycinet. Dumont d'Urville, who would later lead his own expeditions in the Pacific, was Duperrey's second-in-command, Réné Lesson was the naturalist on the voyage. The Coquille called at Brazil, the Falkland Islands, Concepciõn, Callao, and Payta. The Pacific islands visited were the Tuamotu Archipelago, Tahiti and the Society Islands, Tonga, Rotuma, the Gilbert and Caroline Islands, and the Bismarck Archipelago. Australia was visited twice, and explorations made of New Zealand and the Maoris were of particular significance. Vast quantities of ethnographic and scientific data were collected. Before returning to Marseilles, Java, Mauritius, and Ascension were visited" (Hill p.90).

Lot: 36848 - Kircher, pub. 1665 - Map of the world & Ocean Currents (Tabula Geographico-Hydrographica Motus Oceani, Currentes, Abyssos, Montes Igniuomos)

This extraordinary first edition engraving is from Athanasius Kirchir's Mundus Subterraneus, in XII libros digestus, quo divinum subterrestris mundi opificium, mira ergasteriorum naturae in eo distributio [...] The work was published by J. Janssonius & Elizeum Weyerstraten in 1665 in Amsterdam. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 36849 - Visscher - Map of the World published 1650 - Orbis Terrarum Typus de Integro Multis in Locis Emendatus. Auctore N.I. Piscatore .. 1650

This world map is entitled Orbis Terrarum Typus de Integro Multis in Locis Emendatus. Auctore N.I. Piscatore .. 1650 and was done by Claes Janszoon Visscher. The engraver of the map was Pieter Goos. It was published in Amsterdam in 1650 by Nicolaes Visscher (using his latinized name N. I. Piscator). This is the third state of this exceptional map. It was first published in 1639. The cartography was mostly reflective of the information of Henricus Hondius's map of 1630. The map itself features the northwest of North America in an unfinished state. California is presented as an island. The lower cartouche includes an error describing America as first discovered by Christopher Columbus in 1592 and Amerigo Vespucci in 1599. There is also a lighter, fragmented outline of Terra Australis Incognita. It is a wonderfully decorative map. Outside of the double hemisphere world map are illustrations of the seasons and elements. It also has inset maps of the northern and southern celestial spheres. There are also illustrations of customes of various people of the world, labeled: Hispani, Galli, Itali, Germani, Angli, Belgae, Groenlandi, Chinenses, Javani, Guineenses, Peruuiani, and Magellanici. Pieter Goos (1616-1675) was a Dutch engraver, cartographer, publisher, and bookseller. He was the son of another established cartographer, Abraham Goos. He produced numerous atlases. He was the first to map Christmas Island. Claes Janszoon Visscher (1586-1652) was a Dutch Golden Age draughtsman, engraver, cartographer, and publisher. His son, Nicholas I, and grandson, Nicholas II, were also established mapmakers. Visscher maps are likely best known for a fine panelled border. The maps are also known for their exceptional engraving.

Lot: 36850 - Athanasius Kircher's Ars magna lucis… - 2 Volumes with 40 Engravings and ~ 400 In Text Illustrations Bound in Vellum

This two volume work of scientific engravings is the first edition of Athanasius Kircher's Ars magna lucis et umbrae in decem digros libesta. Quibus admirandae lucis et umbrae in the world, atque adeò universa natura, vires effectus... The work, sometimes referred to as Kircher's Encyclopedia of Optics, was published in Rome by Ludovico Girgnani for Hermann Scheus in 1646. Kircher's work

Lot: 36851 - Edward Quin's An Atlas of Universal History - Volume Bound with 15 Maps

This unique volume of 15 historical map is from Edward Quin's An Atlas of Universal History or An historical atlas: in a series of maps of the world known at different periods. The work was published in London and Glasgow by Richard Girffin and Company circa 1859. The map is very decorative and executed in aquatint by the master engraver Sidney Hall. Quin presented the maps from different periods of time and as seen through the clouds. The clouds break further to represent increased knowledge of the known work. Edward Quin explained in the preface: “The present volume is intended to place before the student a series of Progressive Maps, conveying at a glance the History of the World at various distinct episodes. The information thus presented – extending from era of the Deluge to the Peace of Paris in 1856 – is such as only could be obtained by consulting an almost endless variety of authorities.”

Lot: 36852 - John Franklin's Narrative of a Journey to the Shores of the Polar Sea - Volume with 20 Engravings & 11 Aquatints

This is the first edition of John Franklin's Narrative of a Journey to the Shores of the Polar Sea, in the Years 1819, 20, 21, and 22 … With an Appendix on Various Subjects relating to Science and Natural History. The work was published in London by John Murray in 1823.The volume is in very nice half calf binding with uncut edges of the paper. It features 20 engraved plates, and 11 hand-colored aquatint plates, and 4 folding engraved maps. The work typically features 30 plates, so it may be that the last hand-colored plate (engraved by J. Swan) was inserted from another work.Provenance:C. L. Lloyd (denoted by an inconspicuous modern signature at head of title)From the Collection of Lt. Cdr. Andrew David (denoted by bookplate)

Lot: 36853 - John Franklin's Narrative of a second expedition to the shores of the Polar Sea... - Volume with 6 folding maps and 31 engraved plates

This volume of historic engravings is from John Franklin's Narrative of a second expedition to the shores of the Polar Sea in the years 1825, 1826 and 1827. Including an account of the progress of a detachment to the eastward by J. Richardson.. This first edition work was published in London by J. Murray in 1828. It features 6 folding maps and 31 engraved plates bound in 19th century half morocco with gilt decoration on spine. The work was an account of Franklin's second Arctic journey. He surveyed a large part of the coast of Arctic North America. He also collected important data on magnetism, geology, topology, and meteorology. "The success of the expedition was heightened by the return of Beechey's expedition, which had navigated from the Bering Strait to within 256 kilometres of Franklin's furthest west. For the first time, almost the entire northern coast of America, at least as far as the Kent Peninsula, could be shown on the maps." (Howgego) Provenance: from armorial bookplate - George John, 9th Earl of Northesk (1843-1891)

Lot: 36854 - Papworth's Hints on Ornamental Gardening - Volume with 28 Originally Hand-colored Aquatints

This work is from John Buonarotti Papworth entitled Hints on Ornamental Gardening: consisting of a series of designs for garden buildings... featuring 28 originally hand-colored aquatints of pavilions and gardens. The work was published in London by Ackermann in 1823. This volume is in modern blue half-calf. John Buonarotti Papworth was an architect, founder, and member of the Royal Institute of British Architects. John Summerson described him as "one of the most versatile architects and decorative artists of the period." His designs were also published in Ackermann's Repository of the Arts as well as Designs for Rural Residences in 1818. He became the director of the newly established Government School of Design in 1838. His archive of drawings is in the Royal Institute of British Architects Drawings and Archives Collections. List of plates: 1. Frontispiece. A Fountain 2. A General Plan [overlaid with] Ground to be improved (sepia) 3. Gates and Fences (4 figs) 4. Coppice, Wood Fences, Gates and Hurdles 5. A Gamekeeper's Lodge 6. A Plantation Seat 7. An Aviary 8. A Bridge and Boat House 9. A Rustic Bridge 10. A Bridge & Temple 11. A Bridge adapted to Park Scenery 12. A Picturesque Dairy 13. A Polish Hut 14. An Ice Well [House] 15. A Woodland Seat 16. A Laundry and Plan 17. A Poultry House and Plan 18. A Conservatory 19. A Venetian Tent 20. A Garden Seat 21. An Alcove 22. An Aviary 23. A Garden Fountain 24. A Fountain 25. A Bath 26. An Apiary 27. Garden Railing (4 figs) 28. A Cenotaph

Lot: 36855 - Carl Gustav Jablonsky's Natursystem aller bekannten - Volume with 137 Hand-colored Beetle Engravings as well as 9 Text Volumes

This volume of 137 striking, originally hand-colored entomology engravings is Carl Gustav Jablonsky and Johann Friedrich Wilhelm Herbst’s work Natursystem aller bekannten in- und ausländischen Insekten, als eine Fortsetzung der Büffonschen Naturgeschichte. Nach dem System des Ritters Carl von Linne bearbeitet… It is bound in contemporary red half morocco,with floral gilt spine. Included with the plate volume are nine (of ten) text volumes. The work was published by J. Pauli in Berlin between 1785 and 1801. The engravings were done by C. Darchow, Ludwig Schmidt, Heusinger, and others. It is one of the earliest works on coleoptera or beetles. Jablonsky was a naturalist and private secretary to the Queen of Prussia. Johann F. W. Herbst edited the work after the early death of Jablonsky at age 31. Herbst was a German naturalist and entomologist. The work was published when the Linnaeus system was just beginning to be used. Each engraving is aesthetically pleasing and scientifically accurate. Most the images were drawn by Jablonsky. The work should be considered a first attempt at a total survey of beetles. "[Herbst's] illustrations of New Zealand insects are the earliest published." (Andrews, The Southern Ark pp. 45)

Lot: 36856 - Buffon's Histoire Naturelle Atlas - Volume with 110 Mammal and Bird Engravings

This volume with 110 beautiful originally hand-colored mammal and bird engravings is from Georges Louis Leclerc, Comte de Buffon's Histoire Naturelle Atlas. The work was published c1800s. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible."

Lot: 36857 - Martinet & Buffon - Eagle. 416

This magnificent, copperplate engraving featured here displays remarkable, original hand-coloring. It is from Francois Martinet's work with Buffon Histoire Naturelle des Oiseaux. The work was published between 1765 and 1780 by Edme Louis Daubenton in France. Each plate features a delicate yellow border, which many believe led to the development of French matting. Each plate is on fine chain-linked, watermarked paper. Martinet was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on Histoire Naturelle des Oiseaux. The work is considered one of the most influential bird books of all time. Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 36858 - Martinet & Buffon - Parrot. 239

This magnificent, copperplate engraving featured here displays remarkable, original hand-coloring. It is from Francois Martinet's work with Buffon Histoire Naturelle des Oiseaux. The work was published between 1765 and 1780 by Edme Louis Daubenton in France. Each plate features a delicate yellow border, which many believe led to the development of French matting. Each plate is on fine chain-linked, watermarked paper. Martinet was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on Histoire Naturelle des Oiseaux. The work is considered one of the most influential bird books of all time. Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 36859 - Baird - Woodpeckers; Centurus Uropygialis. 36

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 36860 - Baird - Owl; Syrnium Occdentale. 66

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 36861 - Baird - Mountain Trogon; Trogon Mexicanus. 40

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 36862 - Baird - Motmot; Momotus Coeruleiceps. 46

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 36863 - Baird - Little Crane; Grus Fraterculus. 37

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 36864 - Baird - Heron. 86

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 36865 - Audubon - Traill's Flycatcher. 65

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36866 - Audubon - Least Pewee Flycatcher. 66

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36867 - Audubon - Small-headed Flycatcher. 67

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36868 - Audubon - Stellers Jay. 230

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36869 - Audubon - Columbia Magpie or Jay. 229

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36870 - Audubon - Florida Jay. 233

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36871 - Audubon - Blue Jay. 231

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36872 - Audubon - Red-shafted Woodpecker. 274

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36873 - Audubon - Pileated Woodpecker. 257

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36874 - Audubon - Ivory-billed Woodpecker. 256

This hand-colored lithograph comes from John James Audubon's first octavo edition of Birds of America published from 1840 to 1844. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring was completed by J. T. Bowen. Prints from Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible.

Lot: 36875 - Shelley & Keulemans - Sunbird (Cynnyris Zeylonicus)

This vibrant, originally hand-colored lithograph is from George Ernest Shelley's A Monograph of The Nectariniidae or Family of Sun-Birds. The work was published by the author in London between 1876 and 1880. This is a first edition lithograph with "excellent hand-colored plates" (Zimmer). Only 250 copies of the work were every published. The illustrations were by the celebrated J. G. Keulemans. Shelley noted his contribution and exceptional artistry, as well as incorporated his notes on the sunbirds of Prince's Island into the text. Shelley noted, "The illustrations which form such an important portion of my Monograph, have all been executed by Mr. Keulemans, whose name is sufficient guarantee for the accuracy of the details and for high artistic skill. The latter is rendered perhaps more striking from his being acquainted with this family of birds in their native haunts; and his notes upon the sun-birds inhabiting Prince's Island have been incorporated in my work". Paper Size ~ 9 1/2" by 12 1/4"

Lot: 36876 - Shelley & Keulemans - Variable Sunbird (Cinnyris Albiventris)

This vibrant, originally hand-colored lithograph is from George Ernest Shelley's A Monograph of The Nectariniidae or Family of Sun-Birds. The work was published by the author in London between 1876 and 1880. This is a first edition lithograph with "excellent hand-colored plates" (Zimmer). Only 250 copies of the work were every published. The illustrations were by the celebrated J. G. Keulemans. Shelley noted his contribution and exceptional artistry, as well as incorporated his notes on the sunbirds of Prince's Island into the text. Shelley noted, "The illustrations which form such an important portion of my Monograph, have all been executed by Mr. Keulemans, whose name is sufficient guarantee for the accuracy of the details and for high artistic skill. The latter is rendered perhaps more striking from his being acquainted with this family of birds in their native haunts; and his notes upon the sun-birds inhabiting Prince's Island have been incorporated in my work". Paper Size ~ 9 1/2" by 12 1/4"

Lot: 36877 - Shelley & Keulemans - Orange-tufted Sunbird (Cynnyris Bouvieri)

This vibrant, originally hand-colored lithograph is from George Ernest Shelley's A Monograph of The Nectariniidae or Family of Sun-Birds. The work was published by the author in London between 1876 and 1880. This is a first edition lithograph with "excellent hand-colored plates" (Zimmer). Only 250 copies of the work were every published. The illustrations were by the celebrated J. G. Keulemans. Shelley noted his contribution and exceptional artistry, as well as incorporated his notes on the sunbirds of Prince's Island into the text. Shelley noted, "The illustrations which form such an important portion of my Monograph, have all been executed by Mr. Keulemans, whose name is sufficient guarantee for the accuracy of the details and for high artistic skill. The latter is rendered perhaps more striking from his being acquainted with this family of birds in their native haunts; and his notes upon the sun-birds inhabiting Prince's Island have been incorporated in my work". Paper Size ~ 9 1/2" by 12 1/4"

Lot: 36878 - Shelley & Keulemans - Oustalet's Sunbird & Gray-chinned Sunbird (Cynnyris Bouvieri & Anthreptes Tephrolaema)

This vibrant, originally hand-colored lithograph is from George Ernest Shelley's A Monograph of The Nectariniidae or Family of Sun-Birds. The work was published by the author in London between 1876 and 1880. This is a first edition lithograph with "excellent hand-colored plates" (Zimmer). Only 250 copies of the work were every published. The illustrations were by the celebrated J. G. Keulemans. Shelley noted his contribution and exceptional artistry, as well as incorporated his notes on the sunbirds of Prince's Island into the text. Shelley noted, "The illustrations which form such an important portion of my Monograph, have all been executed by Mr. Keulemans, whose name is sufficient guarantee for the accuracy of the details and for high artistic skill. The latter is rendered perhaps more striking from his being acquainted with this family of birds in their native haunts; and his notes upon the sun-birds inhabiting Prince's Island have been incorporated in my work". Paper Size ~ 9 1/2" by 12 1/4"

Lot: 36879 - Brasher - Lucy Warbler. 643

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36880 - Brasher - Virginia Warbler. 644

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36881 - Brasher - Nashville & Calaveras Warbler. 645

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36882 - Brasher - Pribillof Snowflake. 534a

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36883 - Brasher - Chestnutcollar Longspur. 538

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36884 - Brasher - Black Skimmer. 80

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36885 - Brasher - Redhead Widgeon. 136

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36886 - Brasher - Bladpate. 137

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36887 - Brasher - Greenwing Teal. 139

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36888 - Brasher - Scaup Duck. 148

This wonderful, hand-colored folio collotype is from Rex Brasher's Birds and Trees of North America. The work was published in 1931 by Meriden Gravure Co. in the Chickadee Valley in Kent, Connecticut. The original illustrations were done by Rex Brasher, and the text was written by Brasher's niece, Marie. This collotype is from set # 28. Birds & Trees of North America were published after Brasher's paintings, which were originally done from 1895 to 1925. His paintings depicted 1200 species and subspecies of North American birds. Rex Brasher was a noted Connecticut wildlife artist. At age 10, his ambition was to draw all of the birds of North America. Brasher spent 44 years chronicling the birds of North America and perfecting his art before beginning publication. He depicted birds in various states of development and plumage. The tree species and bird habitat depictions were also considered an important contribution to the field of natural history and ornithology. Brasher became friends with the famous bird painter, Louis Agassiz Fuertes. Fuertes helped develoop Brasher's artistic range and technique. Brasher completed all the hand-coloring, using airbrush and stencil, of the birds. Brasher received an estimate of $500,000 to complete the color printing of this work, but it would not produce the accuracy he desired. He then made the decision to hand color all of the copies himself. He worked for 6 months and completed 100 copies of the first volume and realized to complete 500 copies in his lifetime would be near impossible. It is extremely rare to come across the Brasher prints from this 1931 publication. Brasher originally had 95 subscribers for the work, but when the Great Depression hit he lost many patrons. Eventually the wealthiest of the time period subscribed to the work including William Boeing and Paul Mellon. No other American ornithologist has come close to the achievement of Rex Brasher in bird illustration and detailing.

Lot: 36889 - Rothschild, Hawaii - 3 Lithographs of Nest & Eggs of Hawaiian Birds

This hand-colored lithograph is from Lionel Walter Rothschild's The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions. The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world.

Lot: 36890 - Rothschild & Keulemans, Hawaii - Kauaʻi ʻōʻō or ʻōʻōʻāʻā (Moho Braccatus)

This hand-colored lithograph is from Lionel Walter Rothschild's The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions. The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world.

Lot: 36891 - Rothschild & Keulemans, Hawaii - Thrush (Phaeornis Obscura, P. Myiadestina, P. Lanaiensis)

This hand-colored lithograph is from Lionel Walter Rothschild's The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions. The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world.

Lot: 36892 - Rothschild & Keulemans, Hawaii - ʻAkohekohe or Crested Honeycreeper (Palmeria Dolei)

This hand-colored lithograph is from Lionel Walter Rothschild's The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions. The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world.

Lot: 36893 - Rothschild & Keulemans, Hawaii - Yellow Laysan Finch (Telespiza Flavissima)

This hand-colored lithograph is from Lionel Walter Rothschild's The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions. The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world.

Lot: 36894 - Sinclair, Hawaiian flower - Pioi. 4

This beautiful chromolithograph is from Isabella Sinclair's Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described by Mrs. Francis Sinclair. The work was published in London in 1885 by Sampson Low, Marston, Searle, and Rivington. The plates were printed by Leighton brothers. This is from the first edition of "One of the most prized of Hawaiian books among collectors." (Forbes) It is also the first work dedicated to Hawaiian flora and illustrated in color Sinclair wrote in the prefact to the work: "The following collection of flowers was made upon the islands of Kauai and Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this enumeration was made some years ago, and it is probable that many plants have become extinct since then."

Lot: 36895 - Sinclair, Hawaiian flower - Kakalaioa. 31

This beautiful chromolithograph is from Isabella Sinclair's Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described by Mrs. Francis Sinclair. The work was published in London in 1885 by Sampson Low, Marston, Searle, and Rivington. The plates were printed by Leighton brothers. This is from the first edition of "One of the most prized of Hawaiian books among collectors." (Forbes) It is also the first work dedicated to Hawaiian flora and illustrated in color Sinclair wrote in the prefact to the work: "The following collection of flowers was made upon the islands of Kauai and Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this enumeration was made some years ago, and it is probable that many plants have become extinct since then."

Lot: 36896 - Sinclair, Hawaiian flower - Uala. 15

This beautiful chromolithograph is from Isabella Sinclair's Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described by Mrs. Francis Sinclair. The work was published in London in 1885 by Sampson Low, Marston, Searle, and Rivington. The plates were printed by Leighton brothers. This is from the first edition of "One of the most prized of Hawaiian books among collectors." (Forbes) It is also the first work dedicated to Hawaiian flora and illustrated in color Sinclair wrote in the prefact to the work: "The following collection of flowers was made upon the islands of Kauai and Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this enumeration was made some years ago, and it is probable that many plants have become extinct since then."

Lot: 36897 - Sinclair, Hawaiian flower - Nukuiwi. 5

This beautiful chromolithograph is from Isabella Sinclair's Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described by Mrs. Francis Sinclair. The work was published in London in 1885 by Sampson Low, Marston, Searle, and Rivington. The plates were printed by Leighton brothers. This is from the first edition of "One of the most prized of Hawaiian books among collectors." (Forbes) It is also the first work dedicated to Hawaiian flora and illustrated in color Sinclair wrote in the prefact to the work: "The following collection of flowers was made upon the islands of Kauai and Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this enumeration was made some years ago, and it is probable that many plants have become extinct since then."

Lot: 36898 - Sinclair, Hawaiian flower - Puakauhi. 6

This beautiful chromolithograph is from Isabella Sinclair's Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described by Mrs. Francis Sinclair. The work was published in London in 1885 by Sampson Low, Marston, Searle, and Rivington. The plates were printed by Leighton brothers. This is from the first edition of "One of the most prized of Hawaiian books among collectors." (Forbes) It is also the first work dedicated to Hawaiian flora and illustrated in color Sinclair wrote in the prefact to the work: "The following collection of flowers was made upon the islands of Kauai and Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this enumeration was made some years ago, and it is probable that many plants have become extinct since then."

Lot: 36899 - Sinclair, Hawaiian flower - Pilikai. 14

This beautiful chromolithograph is from Isabella Sinclair's Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described by Mrs. Francis Sinclair. The work was published in London in 1885 by Sampson Low, Marston, Searle, and Rivington. The plates were printed by Leighton brothers. This is from the first edition of "One of the most prized of Hawaiian books among collectors." (Forbes) It is also the first work dedicated to Hawaiian flora and illustrated in color Sinclair wrote in the prefact to the work: "The following collection of flowers was made upon the islands of Kauai and Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this enumeration was made some years ago, and it is probable that many plants have become extinct since then."

Lot: 36900 - Bertuch - Banana & Papaya Tree. 5-7

This attractive originally hand-colored engraving is from Friedrich Justin Bertuch's Bilderbuch fur Kinder enthaltend eine angenehme Sammlung von Thieren, Pflanzen, Blumen, Fruchten, Mineralien, Trachten und allerhand andern unterrichtenden Gegenständen aus dem Reiche der Natur, der Künste und Wissenschaften. The work was published by Industrie-Comptoir between 1792 and 1810 in Weimar, Germany. The work was considered one of the finest natural history encyclopedias made for children. The engravings were done by Ludwig Ebner, C. Ermer, Theodor Götz, Ludwig Hess, Conrad Horney, J.B. Hoessel, C., G. Starcke, and more under the direction of Melchior Kraus and Johann Heinrich Lips. "Without a doubt, Bertuch's picture book is one of the greatest works that the children's book collector will encounter ... This is where modern, scientific thinking begins, the determination with which modern non-fiction is anticipated in children's books. In addition, it is one of the most precious treasures of the Collector's illustrated books." (E. Strobach in Philobiblon XIII, 255 ff.) As Bertuch stated in his introduction, "A picture book is just as essential and even more indispensable a meuble for a nursery as the cradle, doll or hobbyhorse." The work was many-varied in what it illustrated. In "the 1100 panels not only contain the objects and areas listed in the title, they also contain curiosities such as the seven wonders of the world, mythical animals, a bullfight in Spain, horse races in England, microscopic views of animals and various objects, the telescope from Herschel, a diving bell, the telegraph in Paris, the Degen flying machine from Vienna and much more besides: the abundance of knowledge and direct visual aids, the care that is focused on the largest and the smallest, on the strangest and the everyday is used is astonishing and corresponds to the seemingly modern psychological-pedagogical considerations, as the author makes in the preliminary report." (European children's books from the 15th to the 19th century 137-137a) Friedrich Justin Bertuch (1747-1822) studied theology and law, and was a poet, playwright, translator, publisher, and naturalist. He became a successful publisher with his firm in Weimar, Germany becoming the largest employer of that town. Bertuch's work was inspired by that of Bloch, Jablonsky, Merian, Esper, Ellis, and more.

Lot: 36901 - Bertuch - Cashew Plant. 4-48

This attractive originally hand-colored engraving is from Friedrich Justin Bertuch's Bilderbuch fur Kinder enthaltend eine angenehme Sammlung von Thieren, Pflanzen, Blumen, Fruchten, Mineralien, Trachten und allerhand andern unterrichtenden Gegenständen aus dem Reiche der Natur, der Künste und Wissenschaften. The work was published by Industrie-Comptoir between 1792 and 1810 in Weimar, Germany. The work was considered one of the finest natural history encyclopedias made for children. The engravings were done by Ludwig Ebner, C. Ermer, Theodor Götz, Ludwig Hess, Conrad Horney, J.B. Hoessel, C., G. Starcke, and more under the direction of Melchior Kraus and Johann Heinrich Lips. "Without a doubt, Bertuch's picture book is one of the greatest works that the children's book collector will encounter ... This is where modern, scientific thinking begins, the determination with which modern non-fiction is anticipated in children's books. In addition, it is one of the most precious treasures of the Collector's illustrated books." (E. Strobach in Philobiblon XIII, 255 ff.) As Bertuch stated in his introduction, "A picture book is just as essential and even more indispensable a meuble for a nursery as the cradle, doll or hobbyhorse." The work was many-varied in what it illustrated. In "the 1100 panels not only contain the objects and areas listed in the title, they also contain curiosities such as the seven wonders of the world, mythical animals, a bullfight in Spain, horse races in England, microscopic views of animals and various objects, the telescope from Herschel, a diving bell, the telegraph in Paris, the Degen flying machine from Vienna and much more besides: the abundance of knowledge and direct visual aids, the care that is focused on the largest and the smallest, on the strangest and the everyday is used is astonishing and corresponds to the seemingly modern psychological-pedagogical considerations, as the author makes in the preliminary report." (European children's books from the 15th to the 19th century 137-137a) Friedrich Justin Bertuch (1747-1822) studied theology and law, and was a poet, playwright, translator, publisher, and naturalist. He became a successful publisher with his firm in Weimar, Germany becoming the largest employer of that town. Bertuch's work was inspired by that of Bloch, Jablonsky, Merian, Esper, Ellis, and more.

Lot: 36902 - Bertuch - Pomegranate. 5-22

This attractive originally hand-colored engraving is from Friedrich Justin Bertuch's Bilderbuch fur Kinder enthaltend eine angenehme Sammlung von Thieren, Pflanzen, Blumen, Fruchten, Mineralien, Trachten und allerhand andern unterrichtenden Gegenständen aus dem Reiche der Natur, der Künste und Wissenschaften. The work was published by Industrie-Comptoir between 1792 and 1810 in Weimar, Germany. The work was considered one of the finest natural history encyclopedias made for children. The engravings were done by Ludwig Ebner, C. Ermer, Theodor Götz, Ludwig Hess, Conrad Horney, J.B. Hoessel, C., G. Starcke, and more under the direction of Melchior Kraus and Johann Heinrich Lips. "Without a doubt, Bertuch's picture book is one of the greatest works that the children's book collector will encounter ... This is where modern, scientific thinking begins, the determination with which modern non-fiction is anticipated in children's books. In addition, it is one of the most precious treasures of the Collector's illustrated books." (E. Strobach in Philobiblon XIII, 255 ff.) As Bertuch stated in his introduction, "A picture book is just as essential and even more indispensable a meuble for a nursery as the cradle, doll or hobbyhorse." The work was many-varied in what it illustrated. In "the 1100 panels not only contain the objects and areas listed in the title, they also contain curiosities such as the seven wonders of the world, mythical animals, a bullfight in Spain, horse races in England, microscopic views of animals and various objects, the telescope from Herschel, a diving bell, the telegraph in Paris, the Degen flying machine from Vienna and much more besides: the abundance of knowledge and direct visual aids, the care that is focused on the largest and the smallest, on the strangest and the everyday is used is astonishing and corresponds to the seemingly modern psychological-pedagogical considerations, as the author makes in the preliminary report." (European children's books from the 15th to the 19th century 137-137a) Friedrich Justin Bertuch (1747-1822) studied theology and law, and was a poet, playwright, translator, publisher, and naturalist. He became a successful publisher with his firm in Weimar, Germany becoming the largest employer of that town. Bertuch's work was inspired by that of Bloch, Jablonsky, Merian, Esper, Ellis, and more.

Lot: 36903 - Bertuch - Pineapple. 5-27

This attractive originally hand-colored engraving is from Friedrich Justin Bertuch's Bilderbuch fur Kinder enthaltend eine angenehme Sammlung von Thieren, Pflanzen, Blumen, Fruchten, Mineralien, Trachten und allerhand andern unterrichtenden Gegenständen aus dem Reiche der Natur, der Künste und Wissenschaften. The work was published by Industrie-Comptoir between 1792 and 1810 in Weimar, Germany. The work was considered one of the finest natural history encyclopedias made for children. The engravings were done by Ludwig Ebner, C. Ermer, Theodor Götz, Ludwig Hess, Conrad Horney, J.B. Hoessel, C., G. Starcke, and more under the direction of Melchior Kraus and Johann Heinrich Lips. "Without a doubt, Bertuch's picture book is one of the greatest works that the children's book collector will encounter ... This is where modern, scientific thinking begins, the determination with which modern non-fiction is anticipated in children's books. In addition, it is one of the most precious treasures of the Collector's illustrated books." (E. Strobach in Philobiblon XIII, 255 ff.) As Bertuch stated in his introduction, "A picture book is just as essential and even more indispensable a meuble for a nursery as the cradle, doll or hobbyhorse." The work was many-varied in what it illustrated. In "the 1100 panels not only contain the objects and areas listed in the title, they also contain curiosities such as the seven wonders of the world, mythical animals, a bullfight in Spain, horse races in England, microscopic views of animals and various objects, the telescope from Herschel, a diving bell, the telegraph in Paris, the Degen flying machine from Vienna and much more besides: the abundance of knowledge and direct visual aids, the care that is focused on the largest and the smallest, on the strangest and the everyday is used is astonishing and corresponds to the seemingly modern psychological-pedagogical considerations, as the author makes in the preliminary report." (European children's books from the 15th to the 19th century 137-137a) Friedrich Justin Bertuch (1747-1822) studied theology and law, and was a poet, playwright, translator, publisher, and naturalist. He became a successful publisher with his firm in Weimar, Germany becoming the largest employer of that town. Bertuch's work was inspired by that of Bloch, Jablonsky, Merian, Esper, Ellis, and more.

Lot: 36904 - Drury - Insects. 2-30

This beautiful entomology engraving is from the exceedingly rare first edition of Dru Drury’s Illustrations of natural history. Wherein are exhibited upwards of two hundred and forty figures of exotic insects, according to their different genera; very few of which have hitherto been figured by any author, being engraved and coloured from nature, with the greatest accuracy, and under the author's own inspection ... With a particular description of each insect: interspersed with remarks and reflections on the nature and properties of many of them. To which is added, a translation into French. The work was printed for the author in London between 1770 and 1782. Each engraving features original hand-coloring and is from an uncut, large paper publication. Most the of the plates were by and after Moses Harris. Drury was a wealthy goldsmith who had a passion for insects and possessed over 11,000 species in his collection. "By virtue of his marriage and inheritance of the family business he was a reasonably wealthy man who could afford to support his most serious hobby entomology. Drury's collection had great fame during his life time. He spent much time and money persuading others to collect specimens for him from foreign countries. He had a wide correspondence with entomologists around the world. Linnaeus (1707-1778) and Willliam Kirby (1759-1850) both named species after him." (Harvey, Gilbert & Martin, A catalogue of manuscripts in the Entomological library... 119). "Although originally conceived as a publication to illustrate all the specimens that came in, Drury soon changed his mind and eventually decided to illustrate only those specimens which had not previously been drawn. Years later, the eminent British entomologist W.F. Kirby described the work as an 'Opus entomologicus splendissimus'!" (Gilbert, Butterfly Collectors and Painters, p.140) His vast collection was sold in London after his death, where Edward Donovan won the lot for 614 pounds.

Lot: 36905 - Drury - Moths. 2-29

This beautiful entomology engraving is from the exceedingly rare first edition of Dru Drury’s Illustrations of natural history. Wherein are exhibited upwards of two hundred and forty figures of exotic insects, according to their different genera; very few of which have hitherto been figured by any author, being engraved and coloured from nature, with the greatest accuracy, and under the author's own inspection ... With a particular description of each insect: interspersed with remarks and reflections on the nature and properties of many of them. To which is added, a translation into French. The work was printed for the author in London between 1770 and 1782. Each engraving features original hand-coloring and is from an uncut, large paper publication. Most the of the plates were by and after Moses Harris. Drury was a wealthy goldsmith who had a passion for insects and possessed over 11,000 species in his collection. "By virtue of his marriage and inheritance of the family business he was a reasonably wealthy man who could afford to support his most serious hobby entomology. Drury's collection had great fame during his life time. He spent much time and money persuading others to collect specimens for him from foreign countries. He had a wide correspondence with entomologists around the world. Linnaeus (1707-1778) and Willliam Kirby (1759-1850) both named species after him." (Harvey, Gilbert & Martin, A catalogue of manuscripts in the Entomological library... 119). "Although originally conceived as a publication to illustrate all the specimens that came in, Drury soon changed his mind and eventually decided to illustrate only those specimens which had not previously been drawn. Years later, the eminent British entomologist W.F. Kirby described the work as an 'Opus entomologicus splendissimus'!" (Gilbert, Butterfly Collectors and Painters, p.140) His vast collection was sold in London after his death, where Edward Donovan won the lot for 614 pounds.

Lot: 36906 - Drury - Moths. 1-29

This beautiful entomology engraving is from the exceedingly rare first edition of Dru Drury’s Illustrations of natural history. Wherein are exhibited upwards of two hundred and forty figures of exotic insects, according to their different genera; very few of which have hitherto been figured by any author, being engraved and coloured from nature, with the greatest accuracy, and under the author's own inspection ... With a particular description of each insect: interspersed with remarks and reflections on the nature and properties of many of them. To which is added, a translation into French. The work was printed for the author in London between 1770 and 1782. Each engraving features original hand-coloring and is from an uncut, large paper publication. Most the of the plates were by and after Moses Harris. Drury was a wealthy goldsmith who had a passion for insects and possessed over 11,000 species in his collection. "By virtue of his marriage and inheritance of the family business he was a reasonably wealthy man who could afford to support his most serious hobby entomology. Drury's collection had great fame during his life time. He spent much time and money persuading others to collect specimens for him from foreign countries. He had a wide correspondence with entomologists around the world. Linnaeus (1707-1778) and Willliam Kirby (1759-1850) both named species after him." (Harvey, Gilbert & Martin, A catalogue of manuscripts in the Entomological library... 119). "Although originally conceived as a publication to illustrate all the specimens that came in, Drury soon changed his mind and eventually decided to illustrate only those specimens which had not previously been drawn. Years later, the eminent British entomologist W.F. Kirby described the work as an 'Opus entomologicus splendissimus'!" (Gilbert, Butterfly Collectors and Painters, p.140) His vast collection was sold in London after his death, where Edward Donovan won the lot for 614 pounds.

Lot: 36907 - Drury - Moths. 2-26

This beautiful entomology engraving is from the exceedingly rare first edition of Dru Drury’s Illustrations of natural history. Wherein are exhibited upwards of two hundred and forty figures of exotic insects, according to their different genera; very few of which have hitherto been figured by any author, being engraved and coloured from nature, with the greatest accuracy, and under the author's own inspection ... With a particular description of each insect: interspersed with remarks and reflections on the nature and properties of many of them. To which is added, a translation into French. The work was printed for the author in London between 1770 and 1782. Each engraving features original hand-coloring and is from an uncut, large paper publication. Most the of the plates were by and after Moses Harris. Drury was a wealthy goldsmith who had a passion for insects and possessed over 11,000 species in his collection. "By virtue of his marriage and inheritance of the family business he was a reasonably wealthy man who could afford to support his most serious hobby entomology. Drury's collection had great fame during his life time. He spent much time and money persuading others to collect specimens for him from foreign countries. He had a wide correspondence with entomologists around the world. Linnaeus (1707-1778) and Willliam Kirby (1759-1850) both named species after him." (Harvey, Gilbert & Martin, A catalogue of manuscripts in the Entomological library... 119). "Although originally conceived as a publication to illustrate all the specimens that came in, Drury soon changed his mind and eventually decided to illustrate only those specimens which had not previously been drawn. Years later, the eminent British entomologist W.F. Kirby described the work as an 'Opus entomologicus splendissimus'!" (Gilbert, Butterfly Collectors and Painters, p.140) His vast collection was sold in London after his death, where Edward Donovan won the lot for 614 pounds.

Lot: 36908 - Drury - Moths. 2-25

This beautiful entomology engraving is from the exceedingly rare first edition of Dru Drury’s Illustrations of natural history. Wherein are exhibited upwards of two hundred and forty figures of exotic insects, according to their different genera; very few of which have hitherto been figured by any author, being engraved and coloured from nature, with the greatest accuracy, and under the author's own inspection ... With a particular description of each insect: interspersed with remarks and reflections on the nature and properties of many of them. To which is added, a translation into French. The work was printed for the author in London between 1770 and 1782. Each engraving features original hand-coloring and is from an uncut, large paper publication. Most the of the plates were by and after Moses Harris. Drury was a wealthy goldsmith who had a passion for insects and possessed over 11,000 species in his collection. "By virtue of his marriage and inheritance of the family business he was a reasonably wealthy man who could afford to support his most serious hobby entomology. Drury's collection had great fame during his life time. He spent much time and money persuading others to collect specimens for him from foreign countries. He had a wide correspondence with entomologists around the world. Linnaeus (1707-1778) and Willliam Kirby (1759-1850) both named species after him." (Harvey, Gilbert & Martin, A catalogue of manuscripts in the Entomological library... 119). "Although originally conceived as a publication to illustrate all the specimens that came in, Drury soon changed his mind and eventually decided to illustrate only those specimens which had not previously been drawn. Years later, the eminent British entomologist W.F. Kirby described the work as an 'Opus entomologicus splendissimus'!" (Gilbert, Butterfly Collectors and Painters, p.140) His vast collection was sold in London after his death, where Edward Donovan won the lot for 614 pounds.

Lot: 36909 - Drury - Butterflies. 2-9

This beautiful entomology engraving is from the exceedingly rare first edition of Dru Drury’s Illustrations of natural history. Wherein are exhibited upwards of two hundred and forty figures of exotic insects, according to their different genera; very few of which have hitherto been figured by any author, being engraved and coloured from nature, with the greatest accuracy, and under the author's own inspection ... With a particular description of each insect: interspersed with remarks and reflections on the nature and properties of many of them. To which is added, a translation into French. The work was printed for the author in London between 1770 and 1782. Each engraving features original hand-coloring and is from an uncut, large paper publication. Most the of the plates were by and after Moses Harris. Drury was a wealthy goldsmith who had a passion for insects and possessed over 11,000 species in his collection. "By virtue of his marriage and inheritance of the family business he was a reasonably wealthy man who could afford to support his most serious hobby entomology. Drury's collection had great fame during his life time. He spent much time and money persuading others to collect specimens for him from foreign countries. He had a wide correspondence with entomologists around the world. Linnaeus (1707-1778) and Willliam Kirby (1759-1850) both named species after him." (Harvey, Gilbert & Martin, A catalogue of manuscripts in the Entomological library... 119). "Although originally conceived as a publication to illustrate all the specimens that came in, Drury soon changed his mind and eventually decided to illustrate only those specimens which had not previously been drawn. Years later, the eminent British entomologist W.F. Kirby described the work as an 'Opus entomologicus splendissimus'!" (Gilbert, Butterfly Collectors and Painters, p.140) His vast collection was sold in London after his death, where Edward Donovan won the lot for 614 pounds.

Lot: 36910 - Donovan - Chorinaeus Butterfly. 104

This original hand-colored engraving is from Edward Donovan’s work The Naturalist’s Repository of Exotic Natural History… Of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions… . The work was published in London between 1822 and 1827. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, engraving, and hand-coloring. His artistic hand created some of the finest engravings that often have the appearance of watercolors. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. Donovan’s engravings are noted for their exceptionally hand-colored images. He drew the images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 36911 - Donovan - Aracadius Butterfly. 155

This original hand-colored engraving is from Edward Donovan’s work The Naturalist’s Repository of Exotic Natural History… Of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions… . The work was published in London between 1822 and 1827. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, engraving, and hand-coloring. His artistic hand created some of the finest engravings that often have the appearance of watercolors. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. Donovan’s engravings are noted for their exceptionally hand-colored images. He drew the images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 36912 - Donovan - Butterfly. 131

This original hand-colored engraving is from Edward Donovan’s work The Naturalist’s Repository of Exotic Natural History… Of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions… . The work was published in London between 1822 and 1827. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, engraving, and hand-coloring. His artistic hand created some of the finest engravings that often have the appearance of watercolors. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. Donovan’s engravings are noted for their exceptionally hand-colored images. He drew the images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 36913 - Donovan - Clytemnestra Butterfly. 125

This original hand-colored engraving is from Edward Donovan’s work The Naturalist’s Repository of Exotic Natural History… Of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions… . The work was published in London between 1822 and 1827. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, engraving, and hand-coloring. His artistic hand created some of the finest engravings that often have the appearance of watercolors. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. Donovan’s engravings are noted for their exceptionally hand-colored images. He drew the images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 36914 - Donovan - Marica's Butterfly. 37

This original hand-colored engraving is from Edward Donovan’s work The Naturalist’s Repository of Exotic Natural History… Of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions… . The work was published in London between 1822 and 1827. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, engraving, and hand-coloring. His artistic hand created some of the finest engravings that often have the appearance of watercolors. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. Donovan’s engravings are noted for their exceptionally hand-colored images. He drew the images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 36915 - Donovan - Antimachus Butterfly. 100

This original hand-colored engraving is from Edward Donovan’s work The Naturalist’s Repository of Exotic Natural History… Of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions… . The work was published in London between 1822 and 1827. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, engraving, and hand-coloring. His artistic hand created some of the finest engravings that often have the appearance of watercolors. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. Donovan’s engravings are noted for their exceptionally hand-colored images. He drew the images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 36916 - Cuvier - Eel, Fish. 79

This hand-colored engraving is from Georges Cuvier's Le Regne Animal Distribue d’apres son Organisation or The Animal Kingdom, Distributed According to Its Organization. The prints from this work feature beautiful original hand-coloring, and some of the fish are heightened with silver and gold. The work was published in Paris by Fortin and Masson in 1817-1849. It is the "first truly complete work in the history of comparative anatomy." Georges Cuvier was a French naturalist and zoologist and established the sciences of comparative anatomy and paleontology. He is credited with proving that extinction occurred. His name is one of the 72 featured on the Eiffel Tower of French scientists, engineers, and mathematicians. "[Cuvier's} vast communication network, huge world-wide collections, and extensive ichthyological library, made Paris the center of ichthyology and Cuvier the foremost ichthyologist in the world" (T.W. Pietsch in 'Archives of Nat. Hist, 12, 1') Cuvier’s Animal Kingdom was “the most influential exposition of the typological approach to animal classification, representing the greatest body of zoological facts that had yet been assembled; it served as the standard zoological manual for most of Europe during the first half of the nineteenth century.” (Norman 567)

Lot: 36917 - Cuvier - Fish. 24

This hand-colored engraving is from Georges Cuvier's Le Regne Animal Distribue d’apres son Organisation or The Animal Kingdom, Distributed According to Its Organization. The prints from this work feature beautiful original hand-coloring, and some of the fish are heightened with silver and gold. The work was published in Paris by Fortin and Masson in 1817-1849. It is the "first truly complete work in the history of comparative anatomy." Georges Cuvier was a French naturalist and zoologist and established the sciences of comparative anatomy and paleontology. He is credited with proving that extinction occurred. His name is one of the 72 featured on the Eiffel Tower of French scientists, engineers, and mathematicians. "[Cuvier's} vast communication network, huge world-wide collections, and extensive ichthyological library, made Paris the center of ichthyology and Cuvier the foremost ichthyologist in the world" (T.W. Pietsch in 'Archives of Nat. Hist, 12, 1') Cuvier’s Animal Kingdom was “the most influential exposition of the typological approach to animal classification, representing the greatest body of zoological facts that had yet been assembled; it served as the standard zoological manual for most of Europe during the first half of the nineteenth century.” (Norman 567)

Lot: 36918 - Cuvier - Fish, Stonefish. 25

This hand-colored engraving is from Georges Cuvier's Le Regne Animal Distribue d’apres son Organisation or The Animal Kingdom, Distributed According to Its Organization. The prints from this work feature beautiful original hand-coloring, and some of the fish are heightened with silver and gold. The work was published in Paris by Fortin and Masson in 1817-1849. It is the "first truly complete work in the history of comparative anatomy." Georges Cuvier was a French naturalist and zoologist and established the sciences of comparative anatomy and paleontology. He is credited with proving that extinction occurred. His name is one of the 72 featured on the Eiffel Tower of French scientists, engineers, and mathematicians. "[Cuvier's} vast communication network, huge world-wide collections, and extensive ichthyological library, made Paris the center of ichthyology and Cuvier the foremost ichthyologist in the world" (T.W. Pietsch in 'Archives of Nat. Hist, 12, 1') Cuvier’s Animal Kingdom was “the most influential exposition of the typological approach to animal classification, representing the greatest body of zoological facts that had yet been assembled; it served as the standard zoological manual for most of Europe during the first half of the nineteenth century.” (Norman 567)

Lot: 36919 - Cuvier - Pinecone Fish, Stickleback. 26

This hand-colored engraving is from Georges Cuvier's Le Regne Animal Distribue d’apres son Organisation or The Animal Kingdom, Distributed According to Its Organization. The prints from this work feature beautiful original hand-coloring, and some of the fish are heightened with silver and gold. The work was published in Paris by Fortin and Masson in 1817-1849. It is the "first truly complete work in the history of comparative anatomy." Georges Cuvier was a French naturalist and zoologist and established the sciences of comparative anatomy and paleontology. He is credited with proving that extinction occurred. His name is one of the 72 featured on the Eiffel Tower of French scientists, engineers, and mathematicians. "[Cuvier's} vast communication network, huge world-wide collections, and extensive ichthyological library, made Paris the center of ichthyology and Cuvier the foremost ichthyologist in the world" (T.W. Pietsch in 'Archives of Nat. Hist, 12, 1') Cuvier’s Animal Kingdom was “the most influential exposition of the typological approach to animal classification, representing the greatest body of zoological facts that had yet been assembled; it served as the standard zoological manual for most of Europe during the first half of the nineteenth century.” (Norman 567)

Lot: 36920 - Cuvier - Blowfish, Pipefish. 111

This hand-colored engraving is from Georges Cuvier's Le Regne Animal Distribue d’apres son Organisation or The Animal Kingdom, Distributed According to Its Organization. The prints from this work feature beautiful original hand-coloring, and some of the fish are heightened with silver and gold. The work was published in Paris by Fortin and Masson in 1817-1849. It is the "first truly complete work in the history of comparative anatomy." Georges Cuvier was a French naturalist and zoologist and established the sciences of comparative anatomy and paleontology. He is credited with proving that extinction occurred. His name is one of the 72 featured on the Eiffel Tower of French scientists, engineers, and mathematicians. "[Cuvier's} vast communication network, huge world-wide collections, and extensive ichthyological library, made Paris the center of ichthyology and Cuvier the foremost ichthyologist in the world" (T.W. Pietsch in 'Archives of Nat. Hist, 12, 1') Cuvier’s Animal Kingdom was “the most influential exposition of the typological approach to animal classification, representing the greatest body of zoological facts that had yet been assembled; it served as the standard zoological manual for most of Europe during the first half of the nineteenth century.” (Norman 567)

Lot: 36921 - Cuvier - Blowfish, Triggerfish, Boxfish. 112

This hand-colored engraving is from Georges Cuvier's Le Regne Animal Distribue d’apres son Organisation or The Animal Kingdom, Distributed According to Its Organization. The prints from this work feature beautiful original hand-coloring, and some of the fish are heightened with silver and gold. The work was published in Paris by Fortin and Masson in 1817-1849. It is the "first truly complete work in the history of comparative anatomy." Georges Cuvier was a French naturalist and zoologist and established the sciences of comparative anatomy and paleontology. He is credited with proving that extinction occurred. His name is one of the 72 featured on the Eiffel Tower of French scientists, engineers, and mathematicians. "[Cuvier's} vast communication network, huge world-wide collections, and extensive ichthyological library, made Paris the center of ichthyology and Cuvier the foremost ichthyologist in the world" (T.W. Pietsch in 'Archives of Nat. Hist, 12, 1') Cuvier’s Animal Kingdom was “the most influential exposition of the typological approach to animal classification, representing the greatest body of zoological facts that had yet been assembled; it served as the standard zoological manual for most of Europe during the first half of the nineteenth century.” (Norman 567)

Lot: 36922 - Bertuch - Pair of Whale Engravings

This attractive originally hand-colored engraving is from Friedrich Justin Bertuch's Bilderbuch fur Kinder enthaltend eine angenehme Sammlung von Thieren, Pflanzen, Blumen, Fruchten, Mineralien, Trachten und allerhand andern unterrichtenden Gegenständen aus dem Reiche der Natur, der Künste und Wissenschaften. The work was published by Industrie-Comptoir between 1792 and 1810 in Weimar, Germany. The work was considered one of the finest natural history encyclopedias made for children. The engravings were done by Ludwig Ebner, C. Ermer, Theodor Götz, Ludwig Hess, Conrad Horney, J.B. Hoessel, C., G. Starcke, and more under the direction of Melchior Kraus and Johann Heinrich Lips. "Without a doubt, Bertuch's picture book is one of the greatest works that the children's book collector will encounter ... This is where modern, scientific thinking begins, the determination with which modern non-fiction is anticipated in children's books. In addition, it is one of the most precious treasures of the Collector's illustrated books." (E. Strobach in Philobiblon XIII, 255 ff.) As Bertuch stated in his introduction, "A picture book is just as essential and even more indispensable a meuble for a nursery as the cradle, doll or hobbyhorse." The work was many-varied in what it illustrated. In "the 1100 panels not only contain the objects and areas listed in the title, they also contain curiosities such as the seven wonders of the world, mythical animals, a bullfight in Spain, horse races in England, microscopic views of animals and various objects, the telescope from Herschel, a diving bell, the telegraph in Paris, the Degen flying machine from Vienna and much more besides: the abundance of knowledge and direct visual aids, the care that is focused on the largest and the smallest, on the strangest and the everyday is used is astonishing and corresponds to the seemingly modern psychological-pedagogical considerations, as the author makes in the preliminary report." (European children's books from the 15th to the 19th century 137-137a) Friedrich Justin Bertuch (1747-1822) studied theology and law, and was a poet, playwright, translator, publisher, and naturalist. He became a successful publisher with his firm in Weimar, Germany becoming the largest employer of that town. Bertuch's work was inspired by that of Bloch, Jablonsky, Merian, Esper, Ellis, and more.

Lot: 36923 - Haeckel - Algae; Florideae. 65

This exceptional color lithograph is from Ernst Haeckel's work Kunstformen der Natur or Art Forms in Nature. The work was published in Leipzig and Vienna by Verlag des Bibliographischen Instituts in 1904. It featured illustrations of radiolarians, sea anemones, siphonophorae, semaeostomeae, and other sea creatures. Haeckel was an author, artist, physician, biologist, and nature philosopher. Haeckel discovered radiolarian, a type of amoeboid protozoa that produces intricate mineral skeletons found as plankton throughout the ocean. He also originated the terms "phylum" and "ecology." Kunstformen der Natur is his most famous illustrated work. It bridged the gap between science and art inspiring numerous artists at the turn of the 20th century especially thouse associated with Art Nouveau.

Lot: 36924 - Haeckel - Zooplankton; Stephoidea. 71

This exceptional color lithograph is from Ernst Haeckel's work Kunstformen der Natur or Art Forms in Nature. The work was published in Leipzig and Vienna by Verlag des Bibliographischen Instituts in 1904. It featured illustrations of radiolarians, sea anemones, siphonophorae, semaeostomeae, and other sea creatures. Haeckel was an author, artist, physician, biologist, and nature philosopher. Haeckel discovered radiolarian, a type of amoeboid protozoa that produces intricate mineral skeletons found as plankton throughout the ocean. He also originated the terms "phylum" and "ecology." Kunstformen der Natur is his most famous illustrated work. It bridged the gap between science and art inspiring numerous artists at the turn of the 20th century especially thouse associated with Art Nouveau.

Lot: 36925 - Haeckel - Lichen; Lichenes. 83

This exceptional color lithograph is from Ernst Haeckel's work Kunstformen der Natur or Art Forms in Nature. The work was published in Leipzig and Vienna by Verlag des Bibliographischen Instituts in 1904. It featured illustrations of radiolarians, sea anemones, siphonophorae, semaeostomeae, and other sea creatures. Haeckel was an author, artist, physician, biologist, and nature philosopher. Haeckel discovered radiolarian, a type of amoeboid protozoa that produces intricate mineral skeletons found as plankton throughout the ocean. He also originated the terms "phylum" and "ecology." Kunstformen der Natur is his most famous illustrated work. It bridged the gap between science and art inspiring numerous artists at the turn of the 20th century especially thouse associated with Art Nouveau.

Lot: 36926 - Haeckel - Spiders; Arachnida. 66

This exceptional color lithograph is from Ernst Haeckel's work Kunstformen der Natur or Art Forms in Nature. The work was published in Leipzig and Vienna by Verlag des Bibliographischen Instituts in 1904. It featured illustrations of radiolarians, sea anemones, siphonophorae, semaeostomeae, and other sea creatures. Haeckel was an author, artist, physician, biologist, and nature philosopher. Haeckel discovered radiolarian, a type of amoeboid protozoa that produces intricate mineral skeletons found as plankton throughout the ocean. He also originated the terms "phylum" and "ecology." Kunstformen der Natur is his most famous illustrated work. It bridged the gap between science and art inspiring numerous artists at the turn of the 20th century especially thouse associated with Art Nouveau.

Lot: 36927 - Haeckel - Frog or Toad Life Cycle; Batrachia. 68

This exceptional color lithograph is from Ernst Haeckel's work Kunstformen der Natur or Art Forms in Nature. The work was published in Leipzig and Vienna by Verlag des Bibliographischen Instituts in 1904. It featured illustrations of radiolarians, sea anemones, siphonophorae, semaeostomeae, and other sea creatures. Haeckel was an author, artist, physician, biologist, and nature philosopher. Haeckel discovered radiolarian, a type of amoeboid protozoa that produces intricate mineral skeletons found as plankton throughout the ocean. He also originated the terms "phylum" and "ecology." Kunstformen der Natur is his most famous illustrated work. It bridged the gap between science and art inspiring numerous artists at the turn of the 20th century especially thouse associated with Art Nouveau.

Lot: 36928 - Haeckel - Lizards; Lacertilia. 79

This exceptional color lithograph is from Ernst Haeckel's work Kunstformen der Natur or Art Forms in Nature. The work was published in Leipzig and Vienna by Verlag des Bibliographischen Instituts in 1904. It featured illustrations of radiolarians, sea anemones, siphonophorae, semaeostomeae, and other sea creatures. Haeckel was an author, artist, physician, biologist, and nature philosopher. Haeckel discovered radiolarian, a type of amoeboid protozoa that produces intricate mineral skeletons found as plankton throughout the ocean. He also originated the terms "phylum" and "ecology." Kunstformen der Natur is his most famous illustrated work. It bridged the gap between science and art inspiring numerous artists at the turn of the 20th century especially thouse associated with Art Nouveau.

Lot: 36929 - Seba - Turtles & Eggs. 79

This stunning folio engraving is from the rare publication of Albertus Seba’s Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam. The work was published in Amsterdam by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith between 1734 and 1765. Seba utilized leading scientists to aid in creating Locupletissimi… including H. Boerhaave, P. van Musschenbroek, P. Massuet, H. D. Graubius, and P. Artedi. The work is the finest published Wunderkammer, or Cabinet of Curiosities. Seba developed an interest in exotic species from his travels on the East and West Indies and purchases from world travelers. He exploited his relationship with the Dutch East India Company to advance his collection thus gathering specimens from Sri Lanka, Greenland, Indonesia, Brazil, and other far-flung places. Many of the plates from the work depicted specimens from Seba’s own collection. The sensational engravings are both scientifically accurate and aesthetically appealing. Seba’s “cabinet of curiosities” included beautiful and bizarre subjects and attracted many natural historians, including Carl Linnaeus. Seba’s cabinet played an important part in the Linnaeus classification of the natural world. Maria Sybilla Merian also utilized his cabinet to complete her great work on Surinamese insects. Not lacking humor, Seba placed fake specimens in his cabinet including a seven-headed hydra in order to attract attention. Some of Seba’s original collection is still on display in museums around the world.

Lot: 36930 - Seba - Frogs or Toads. 71

This stunning folio engraving is from the rare publication of Albertus Seba’s Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam. The work was published in Amsterdam by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith between 1734 and 1765. Seba utilized leading scientists to aid in creating Locupletissimi… including H. Boerhaave, P. van Musschenbroek, P. Massuet, H. D. Graubius, and P. Artedi. The work is the finest published Wunderkammer, or Cabinet of Curiosities. Seba developed an interest in exotic species from his travels on the East and West Indies and purchases from world travelers. He exploited his relationship with the Dutch East India Company to advance his collection thus gathering specimens from Sri Lanka, Greenland, Indonesia, Brazil, and other far-flung places. Many of the plates from the work depicted specimens from Seba’s own collection. The sensational engravings are both scientifically accurate and aesthetically appealing. Seba’s “cabinet of curiosities” included beautiful and bizarre subjects and attracted many natural historians, including Carl Linnaeus. Seba’s cabinet played an important part in the Linnaeus classification of the natural world. Maria Sybilla Merian also utilized his cabinet to complete her great work on Surinamese insects. Not lacking humor, Seba placed fake specimens in his cabinet including a seven-headed hydra in order to attract attention. Some of Seba’s original collection is still on display in museums around the world.

Lot: 36931 - Seba - Snakes & Lizards. 68

This stunning folio engraving is from the rare publication of Albertus Seba’s Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam. The work was published in Amsterdam by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith between 1734 and 1765. Seba utilized leading scientists to aid in creating Locupletissimi… including H. Boerhaave, P. van Musschenbroek, P. Massuet, H. D. Graubius, and P. Artedi. The work is the finest published Wunderkammer, or Cabinet of Curiosities. Seba developed an interest in exotic species from his travels on the East and West Indies and purchases from world travelers. He exploited his relationship with the Dutch East India Company to advance his collection thus gathering specimens from Sri Lanka, Greenland, Indonesia, Brazil, and other far-flung places. Many of the plates from the work depicted specimens from Seba’s own collection. The sensational engravings are both scientifically accurate and aesthetically appealing. Seba’s “cabinet of curiosities” included beautiful and bizarre subjects and attracted many natural historians, including Carl Linnaeus. Seba’s cabinet played an important part in the Linnaeus classification of the natural world. Maria Sybilla Merian also utilized his cabinet to complete her great work on Surinamese insects. Not lacking humor, Seba placed fake specimens in his cabinet including a seven-headed hydra in order to attract attention. Some of Seba’s original collection is still on display in museums around the world.

Lot: 36932 - Bloch, Folio - Pike Fish - Esox Lucio. 32

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin, Paris, and London by Didot, White & fils between 1785 and 1788. Ichthyologie is noted as "... the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produced the metallic sheen of fish scales." (Nissen) Bloch was a medical doctor before he became fascinated with fish later in his life. He collected several of his own specimens to produce this famous work which described over 200 species of fish.

Lot: 36933 - Bloch, Folio - Gar Fish - Esox Belone. 33

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin, Paris, and London by Didot, White & fils between 1785 and 1788. Ichthyologie is noted as "... the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produced the metallic sheen of fish scales." (Nissen) Bloch was a medical doctor before he became fascinated with fish later in his life. He collected several of his own specimens to produce this famous work which described over 200 species of fish.

Lot: 36934 - Bloch, Folio - Arc-Fish, Fish - Chaetodon Arcuatus, C. Unimaculatus. 201

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin, Paris, and London by Didot, White & fils between 1785 and 1788. Ichthyologie is noted as "... the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produced the metallic sheen of fish scales." (Nissen) Bloch was a medical doctor before he became fascinated with fish later in his life. He collected several of his own specimens to produce this famous work which described over 200 species of fish.

Lot: 36935 - Bloch, Folio - Fish - Chaetodon Cornutus, C. Macrolepidotus. 200

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin, Paris, and London by Didot, White & fils between 1785 and 1788. Ichthyologie is noted as "... the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produced the metallic sheen of fish scales." (Nissen) Bloch was a medical doctor before he became fascinated with fish later in his life. He collected several of his own specimens to produce this famous work which described over 200 species of fish.

Lot: 36936 - Bloch, Folio - Fish - Chaetodon Ocellatus, C. Plumieri. 211

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin, Paris, and London by Didot, White & fils between 1785 and 1788. Ichthyologie is noted as "... the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produced the metallic sheen of fish scales." (Nissen) Bloch was a medical doctor before he became fascinated with fish later in his life. He collected several of his own specimens to produce this famous work which described over 200 species of fish.

Lot: 36937 - Bloch, Folio - Silver-Fish, Fish - Zeus Vomer, Chaetodon Aureus. 193

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin, Paris, and London by Didot, White & fils between 1785 and 1788. Ichthyologie is noted as "... the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produced the metallic sheen of fish scales." (Nissen) Bloch was a medical doctor before he became fascinated with fish later in his life. He collected several of his own specimens to produce this famous work which described over 200 species of fish.

Lot: 36938 - Blackwell - Flower (Keiri, Cheiri). 179

This engaging botanical engraving is from Elizabeth Blackwell's Herbarium Blackwellianum, Selectum sive Collectio Stirpium or Sammlung der Gewache. The work was published by Christoph Jacob Trew in Nuremberg between 1757 and 1773. The engravings were done by Nikolaus Freidrich Eisenberger for the revised and expanded German version of Blackwell's A Curious Herbal which was first published in 1737. Trew translated her Herbal into German and enhanced some of the descriptions. "This edition is artistically superior to Blackwell's Curious Herbal on which it is only partly based. The first 500 plates by N. F. Eisenberger, were copied from Blackwell's plates but are much more carefully drawn, engraved and coloured, and have alterations and additional material." (De Belder) Elizabeth Blackwell created her A Curious Herbal in order to raise money to free her husband from debtor's prison. She drew, engraved, and colored the illustrations herself with the support of Isaac Rand. She used speciments from the Chelsea Physic Garden. While she succeeded in releasing her husband from prison, Alexander absconded to Sweden and conned his way to the court physician to the King and eventually hanged for treason. Elizabeth, then a widow, was denied any profits from the enterprise when it published.

Lot: 36939 - Blackwell - Watermelon (Citrullus Anguria). 157

This engaging botanical engraving is from Elizabeth Blackwell's Herbarium Blackwellianum, Selectum sive Collectio Stirpium or Sammlung der Gewache. The work was published by Christoph Jacob Trew in Nuremberg between 1757 and 1773. The engravings were done by Nikolaus Freidrich Eisenberger for the revised and expanded German version of Blackwell's A Curious Herbal which was first published in 1737. Trew translated her Herbal into German and enhanced some of the descriptions. "This edition is artistically superior to Blackwell's Curious Herbal on which it is only partly based. The first 500 plates by N. F. Eisenberger, were copied from Blackwell's plates but are much more carefully drawn, engraved and coloured, and have alterations and additional material." (De Belder) Elizabeth Blackwell created her A Curious Herbal in order to raise money to free her husband from debtor's prison. She drew, engraved, and colored the illustrations herself with the support of Isaac Rand. She used speciments from the Chelsea Physic Garden. While she succeeded in releasing her husband from prison, Alexander absconded to Sweden and conned his way to the court physician to the King and eventually hanged for treason. Elizabeth, then a widow, was denied any profits from the enterprise when it published.

Lot: 36940 - Blackwell - Grapes (Vitis vinifera). 153

This engaging botanical engraving is from Elizabeth Blackwell's Herbarium Blackwellianum, Selectum sive Collectio Stirpium or Sammlung der Gewache. The work was published by Christoph Jacob Trew in Nuremberg between 1757 and 1773. The engravings were done by Nikolaus Freidrich Eisenberger for the revised and expanded German version of Blackwell's A Curious Herbal which was first published in 1737. Trew translated her Herbal into German and enhanced some of the descriptions. "This edition is artistically superior to Blackwell's Curious Herbal on which it is only partly based. The first 500 plates by N. F. Eisenberger, were copied from Blackwell's plates but are much more carefully drawn, engraved and coloured, and have alterations and additional material." (De Belder) Elizabeth Blackwell created her A Curious Herbal in order to raise money to free her husband from debtor's prison. She drew, engraved, and colored the illustrations herself with the support of Isaac Rand. She used speciments from the Chelsea Physic Garden. While she succeeded in releasing her husband from prison, Alexander absconded to Sweden and conned his way to the court physician to the King and eventually hanged for treason. Elizabeth, then a widow, was denied any profits from the enterprise when it published.

Lot: 36941 - Merian - Moth Metamorphosis. 111

This charming, hand-colored entomology engraving is from Maria Sibylla Merian's De Europische Insecten. This first Dutch edition of the work was published in Amsterdam by Jean Frederic Bernard in 1730. It was originally entitled Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung when published in Nuremberg. Maria Sibylla Merian was a naturalist and artist. Her contributions to entomology were nevery truly acknowledged in her lifetime, but she is considered a groundbreaker in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis which had not been studied so comprehensively before her work. "Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book". Merian's "artistic groupings of the insects amidst the tropical flora makes this book one of the most beautiful and unusual in the whole range of natural history" (Landwehr Dutch Books with Coloured Plates, p.28).

Lot: 36942 - Merian - Flower & Moth Metamorphosis. 128

This charming, hand-colored entomology engraving is from Maria Sibylla Merian's De Europische Insecten. This first Dutch edition of the work was published in Amsterdam by Jean Frederic Bernard in 1730. It was originally entitled Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung when published in Nuremberg. Maria Sibylla Merian was a naturalist and artist. Her contributions to entomology were nevery truly acknowledged in her lifetime, but she is considered a groundbreaker in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis which had not been studied so comprehensively before her work. "Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book". Merian's "artistic groupings of the insects amidst the tropical flora makes this book one of the most beautiful and unusual in the whole range of natural history" (Landwehr Dutch Books with Coloured Plates, p.28).

Lot: 36943 - Merian - Flower & Moth Metamorphosis. 108

This charming, hand-colored entomology engraving is from Maria Sibylla Merian's De Europische Insecten. This first Dutch edition of the work was published in Amsterdam by Jean Frederic Bernard in 1730. It was originally entitled Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung when published in Nuremberg. Maria Sibylla Merian was a naturalist and artist. Her contributions to entomology were nevery truly acknowledged in her lifetime, but she is considered a groundbreaker in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis which had not been studied so comprehensively before her work. "Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book". Merian's "artistic groupings of the insects amidst the tropical flora makes this book one of the most beautiful and unusual in the whole range of natural history" (Landwehr Dutch Books with Coloured Plates, p.28).

Lot: 36944 - Merian - Carnation & Moth. 166

This charming, hand-colored entomology engraving is from Maria Sibylla Merian's De Europische Insecten. This first Dutch edition of the work was published in Amsterdam by Jean Frederic Bernard in 1730. It was originally entitled Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung when published in Nuremberg. Maria Sibylla Merian was a naturalist and artist. Her contributions to entomology were nevery truly acknowledged in her lifetime, but she is considered a groundbreaker in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis which had not been studied so comprehensively before her work. "Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book". Merian's "artistic groupings of the insects amidst the tropical flora makes this book one of the most beautiful and unusual in the whole range of natural history" (Landwehr Dutch Books with Coloured Plates, p.28).

Lot: 36945 - Merian - Iris, Lily, Flowers. 158

This charming, hand-colored entomology engraving is from Maria Sibylla Merian's De Europische Insecten. This first Dutch edition of the work was published in Amsterdam by Jean Frederic Bernard in 1730. It was originally entitled Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung when published in Nuremberg. Maria Sibylla Merian was a naturalist and artist. Her contributions to entomology were nevery truly acknowledged in her lifetime, but she is considered a groundbreaker in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis which had not been studied so comprehensively before her work. "Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book". Merian's "artistic groupings of the insects amidst the tropical flora makes this book one of the most beautiful and unusual in the whole range of natural history" (Landwehr Dutch Books with Coloured Plates, p.28).

Lot: 36946 - Besler - Crocus (Colchicum)

This splendid folio botanical engraving is from Basilius Besler's rare and highly sought after work Hortus Eystettensis, sive Diligens et accurata omnium Plantarum, Florum, Stirpium, ex variis orbis terrae partibus, singulari studio collectarum, quae in celeberrimis viridariis arcem episcopalem ibidem cingentibus, olim conspiciebantur delineatio et ad vivum. The print available is from the second edition published in 1640 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked, watermarked paper. This edition is often more desirable because the text is not printed on verso and thus does not bleed through to the image. Bishop-prince Johann Konrad von Gemmingen created a magnificent garden to praise God and celebrate the diversity of creation. In the early 1600s, the bishop-prince commissioned Basilius Besler to create a catalogue of his garden and thus Hortus Eystettensis was produced. Besler’s work, which depicted over 1100 specimens, is still widely considered one of the best botanical works ever created. Most of the plants depicted were drawn at their actual size. The first edition of the work was printed in 1613 and consisted of only about 300 copies. Hortus Eystettensis is truly a masterpiece and one of the most comprehensive and alluring botanical works ever produced. In the preface to an 1806 edition, Franz Seraph Widmann said “...by reason of...the magnificence of its engravings, [this work] deserves to rank high among the rarest works of its kind."

Lot: 36947 - Besler - Crocus (Colchicum)

This splendid folio botanical engraving is from Basilius Besler's rare and highly sought after work Hortus Eystettensis, sive Diligens et accurata omnium Plantarum, Florum, Stirpium, ex variis orbis terrae partibus, singulari studio collectarum, quae in celeberrimis viridariis arcem episcopalem ibidem cingentibus, olim conspiciebantur delineatio et ad vivum. The print available is from the second edition published in 1640 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked, watermarked paper. This edition is often more desirable because the text is not printed on verso and thus does not bleed through to the image. Bishop-prince Johann Konrad von Gemmingen created a magnificent garden to praise God and celebrate the diversity of creation. In the early 1600s, the bishop-prince commissioned Basilius Besler to create a catalogue of his garden and thus Hortus Eystettensis was produced. Besler’s work, which depicted over 1100 specimens, is still widely considered one of the best botanical works ever created. Most of the plants depicted were drawn at their actual size. The first edition of the work was printed in 1613 and consisted of only about 300 copies. Hortus Eystettensis is truly a masterpiece and one of the most comprehensive and alluring botanical works ever produced. In the preface to an 1806 edition, Franz Seraph Widmann said “...by reason of...the magnificence of its engravings, [this work] deserves to rank high among the rarest works of its kind."

Lot: 36948 - Besler - Geranium

This splendid folio botanical engraving is from Basilius Besler's rare and highly sought after work Hortus Eystettensis, sive Diligens et accurata omnium Plantarum, Florum, Stirpium, ex variis orbis terrae partibus, singulari studio collectarum, quae in celeberrimis viridariis arcem episcopalem ibidem cingentibus, olim conspiciebantur delineatio et ad vivum. The print available is from the second edition published in 1640 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked, watermarked paper. This edition is often more desirable because the text is not printed on verso and thus does not bleed through to the image. Bishop-prince Johann Konrad von Gemmingen created a magnificent garden to praise God and celebrate the diversity of creation. In the early 1600s, the bishop-prince commissioned Basilius Besler to create a catalogue of his garden and thus Hortus Eystettensis was produced. Besler’s work, which depicted over 1100 specimens, is still widely considered one of the best botanical works ever created. Most of the plants depicted were drawn at their actual size. The first edition of the work was printed in 1613 and consisted of only about 300 copies. Hortus Eystettensis is truly a masterpiece and one of the most comprehensive and alluring botanical works ever produced. In the preface to an 1806 edition, Franz Seraph Widmann said “...by reason of...the magnificence of its engravings, [this work] deserves to rank high among the rarest works of its kind."

Lot: 36949 - Besler - Star of Bethlehem & Solomon's Seal (Ornithogalum, Polygonatum)

This splendid folio botanical engraving is from Basilius Besler's rare and highly sought after work Hortus Eystettensis, sive Diligens et accurata omnium Plantarum, Florum, Stirpium, ex variis orbis terrae partibus, singulari studio collectarum, quae in celeberrimis viridariis arcem episcopalem ibidem cingentibus, olim conspiciebantur delineatio et ad vivum. The print available is from the second edition published in 1640 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked, watermarked paper. This edition is often more desirable because the text is not printed on verso and thus does not bleed through to the image. Bishop-prince Johann Konrad von Gemmingen created a magnificent garden to praise God and celebrate the diversity of creation. In the early 1600s, the bishop-prince commissioned Basilius Besler to create a catalogue of his garden and thus Hortus Eystettensis was produced. Besler’s work, which depicted over 1100 specimens, is still widely considered one of the best botanical works ever created. Most of the plants depicted were drawn at their actual size. The first edition of the work was printed in 1613 and consisted of only about 300 copies. Hortus Eystettensis is truly a masterpiece and one of the most comprehensive and alluring botanical works ever produced. In the preface to an 1806 edition, Franz Seraph Widmann said “...by reason of...the magnificence of its engravings, [this work] deserves to rank high among the rarest works of its kind."

Lot: 36950 - Besler - Iris

This splendid folio botanical engraving is from Basilius Besler's rare and highly sought after work Hortus Eystettensis, sive Diligens et accurata omnium Plantarum, Florum, Stirpium, ex variis orbis terrae partibus, singulari studio collectarum, quae in celeberrimis viridariis arcem episcopalem ibidem cingentibus, olim conspiciebantur delineatio et ad vivum. The print available is from either the first or third edition published in 1613 or 1713 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked, watermarked paper. Bishop-prince Johann Konrad von Gemmingen created a magnificent garden to praise God and celebrate the diversity of creation. In the early 1600s, the bishop-prince commissioned Basilius Besler to create a catalogue of his garden and thus Hortus Eystettensis was produced. Besler’s work, which depicted over 1100 specimens, is still widely considered one of the best botanical works ever created. Most of the plants depicted were drawn at their actual size. The first edition of the work was printed in 1613 and consisted of only about 300 copies. Hortus Eystettensis is truly a masterpiece and one of the most comprehensive and alluring botanical works ever produced. In the preface to an 1806 edition, Franz Seraph Widmann said “...by reason of...the magnificence of its engravings, [this work] deserves to rank high among the rarest works of its kind."

Lot: 36951 - Seguy - Floral Design. 9

This stunning pochoir lithograph is from Emile Allain Seguy's Floreal: Dessins & coloris nouveaux. The work was published in Paris by A. Calavas circa 1925. Each lithograph includes bright and colorful floral designs. The illustrations spotlight Seguy's interest in nature but also as to how it can inspire design.

Lot: 36952 - Seguy - Floral Design. 10

This stunning pochoir lithograph is from Emile Allain Seguy's Floreal: Dessins & coloris nouveaux. The work was published in Paris by A. Calavas circa 1925. Each lithograph includes bright and colorful floral designs. The illustrations spotlight Seguy's interest in nature but also as to how it can inspire design.

Lot: 36953 - Seguy - Floral Design. 14

This stunning pochoir lithograph is from Emile Allain Seguy's Floreal: Dessins & coloris nouveaux. The work was published in Paris by A. Calavas circa 1925. Each lithograph includes bright and colorful floral designs. The illustrations spotlight Seguy's interest in nature but also as to how it can inspire design.

Lot: 36954 - Seguy - Floral Design. 15

This stunning pochoir lithograph is from Emile Allain Seguy's Floreal: Dessins & coloris nouveaux. The work was published in Paris by A. Calavas circa 1925. Each lithograph includes bright and colorful floral designs. The illustrations spotlight Seguy's interest in nature but also as to how it can inspire design.

Lot: 36955 - Bon Ton by Lepape - 3 Fashion Pochoir Lithographs

The Gazette du Bon Ton features some of the most desirable pochoir, fashion lithographs. The fashion periodical ran from 1912 to 1925, and greatly influenced the style of the time. Great artists from the day, such as George Barbier and Andre Marty, contributed beautiful plates to the work. Gazette du Bon Ton was published by Lucien Vogel in Paris. The work was meant to appeal to the upper echelon of Parisian society. The fashion prints beauty and quality of the publication has taken on great appeal through the time. The prints feature dramatic pochoir coloring, which is created when single layers of color are added by hand to a lithograph using a stencil. Many prominent artists contributed the magazine including Barbier, Marty, Brissaud, Worth, Monvel, Lepape, Pacquin, & Poiret. George Barbier's contributions to this work are particularly desirable. He contributed greatly to design in this era and also had work featured in Vogue. Lucien Vogel, fashion publisher, (pictured above), was the brilliant creator of this famous Art Deco fashion magazine. He was well-known and well-connected paving the way for the Gazette's success.

Lot: 36956 - Journal des Dames by Barbier - Fashion Pochoir Lithograph. 104

This remarkable pochoir fashion print is from Journal des Dames et des Modes, Costumes Parisiens. The work was published between 1912 and 1914 with only 1,279 copies printed in total. Leading artists of the time contributed to the Journal including Barbier, Brunelleschii, Bakst, J. van Brock, Wegener, Drian, and many others. Journal des Dames sought to be an expression of French elegance. It showed the fashion and also the culture of the early 20th century. Each illustration was printed on high quality paper using excellent pochoir coloring. Pochoir is created when single layers of color are added by hand to a lithograph using a stencil. George Barbier's contributions to this work are particularly desirable. He contributed greatly to design in this era and also had work featured in Vogue.

Lot: 36957 - Journal des Dames by Barbier - Fashion Pochoir Lithograph. 35

This remarkable pochoir fashion print is from Journal des Dames et des Modes, Costumes Parisiens. The work was published between 1912 and 1914 with only 1,279 copies printed in total. Leading artists of the time contributed to the Journal including Barbier, Brunelleschii, Bakst, J. van Brock, Wegener, Drian, and many others. Journal des Dames sought to be an expression of French elegance. It showed the fashion and also the culture of the early 20th century. Each illustration was printed on high quality paper using excellent pochoir coloring. Pochoir is created when single layers of color are added by hand to a lithograph using a stencil. George Barbier's contributions to this work are particularly desirable. He contributed greatly to design in this era and also had work featured in Vogue.

Lot: 36958 - Journal des Dames by Barbier - Fashion Pochoir Lithograph. 164

This remarkable pochoir fashion print is from Journal des Dames et des Modes, Costumes Parisiens. The work was published between 1912 and 1914 with only 1,279 copies printed in total. Leading artists of the time contributed to the Journal including Barbier, Brunelleschii, Bakst, J. van Brock, Wegener, Drian, and many others. Journal des Dames sought to be an expression of French elegance. It showed the fashion and also the culture of the early 20th century. Each illustration was printed on high quality paper using excellent pochoir coloring. Pochoir is created when single layers of color are added by hand to a lithograph using a stencil. George Barbier's contributions to this work are particularly desirable. He contributed greatly to design in this era and also had work featured in Vogue.

Lot: 36959 - Journal des Dames by Barbier - Fashion Pochoir Lithograph. 61

This remarkable pochoir fashion print is from Journal des Dames et des Modes, Costumes Parisiens. The work was published between 1912 and 1914 with only 1,279 copies printed in total. Leading artists of the time contributed to the Journal including Barbier, Brunelleschii, Bakst, J. van Brock, Wegener, Drian, and many others. Journal des Dames sought to be an expression of French elegance. It showed the fashion and also the culture of the early 20th century. Each illustration was printed on high quality paper using excellent pochoir coloring. Pochoir is created when single layers of color are added by hand to a lithograph using a stencil. George Barbier's contributions to this work are particularly desirable. He contributed greatly to design in this era and also had work featured in Vogue.

Lot: 36960 - George Barbier - Nude Bath; La Luxure

This lovely fashion pochoir lithograph is from George Barbier as part of Falbalas & Fanfreluches. The work was published by Meynial in Paris between 1921 and 1926. George Barbier was one of the most celebrated early 20th century French artists. His plates in this work are striking and imaginative.

Lot: 36961 - George Barbier - Cherry Tree; Les Cerises

This lovely fashion pochoir lithograph is from George Barbier as part of Falbalas & Fanfreluches. The work was published by Meynial in Paris between 1921 and 1926. George Barbier was one of the most celebrated early 20th century French artists. His plates in this work are striking and imaginative.

Lot: 36962 - George Barbier - Polo Match; Au Polo

This lovely fashion pochoir lithograph is from George Barbier as part of Falbalas & Fanfreluches. The work was published by Meynial in Paris between 1921 and 1926. George Barbier was one of the most celebrated early 20th century French artists. His plates in this work are striking and imaginative.

Lot: 36963 - George Barbier - Fashion; La Coilette Delicieuse

This lovely fashion pochoir lithograph is from George Barbier as part of Falbalas & Fanfreluches. The work was published by Meynial in Paris between 1921 and 1926. George Barbier was one of the most celebrated early 20th century French artists. His plates in this work are striking and imaginative.

Lot: 36964 - George Barbier - Fashion; Le Retour

This lovely fashion pochoir lithograph is from George Barbier as part of Falbalas & Fanfreluches. The work was published by Meynial in Paris between 1921 and 1926. George Barbier was one of the most celebrated early 20th century French artists. His plates in this work are striking and imaginative.

Lot: 36965 - George Barbier - Fashion; Voici mes ailes!

This lovely fashion pochoir lithograph is from George Barbier as part of Falbalas & Fanfreluches. The work was published by Meynial in Paris between 1921 and 1926. George Barbier was one of the most celebrated early 20th century French artists. His plates in this work are striking and imaginative.

Lot: 36966 - Blake & Young - Oft bursts my song beyond the bounds of life

This spectacular illustration is from William Blake as part of Edward Young's long poem entitled The Complaint and the Consolation or Night Thoughts. The poem was issued in several pages with each featuring elegant engraved border illustrations by William Blake. The work was printed by Robert Noble in London in 1797 and published by Richard Edwards. Young's poem was about death and loss over a series of nights. This particular illustration was printed on larger paper with an uncut edge, this is important as the copperplate typically took up most of the page, thus losing some plate marks. (Bentley, Blake Books) "Of the merit of Mr. Blake . the editor conceives it to be unnecessary to speak. To the eyes of the discerning it need not be pointed out; and while the taste for the arts of design shall continue to exist, the original conception, and the bold and masterly execution of this artist cannot be unnoticed or unadmired." (advertisement, p.viii) Blake had originally done 537 watercolor drawings illustrating the poem choosing 43 for this publication, though he had intended to publish more. Blake's illustrations drew closely from the text, but he also had the images draw upon metaphors in the poem.

Lot: 36967 - Blake & Young - Emblem of that which shall awake the dead

This spectacular illustration is from William Blake as part of Edward Young's long poem entitled The Complaint and the Consolation or Night Thoughts. The poem was issued in several pages with each featuring elegant engraved border illustrations by William Blake. The work was printed by Robert Noble in London in 1797 and published by Richard Edwards. Young's poem was about death and loss over a series of nights. This particular illustration was printed on larger paper with an uncut edge, this is important as the copperplate typically took up most of the page, thus losing some plate marks. (Bentley, Blake Books) "Of the merit of Mr. Blake . the editor conceives it to be unnecessary to speak. To the eyes of the discerning it need not be pointed out; and while the taste for the arts of design shall continue to exist, the original conception, and the bold and masterly execution of this artist cannot be unnoticed or unadmired." (advertisement, p.viii) Blake had originally done 537 watercolor drawings illustrating the poem choosing 43 for this publication, though he had intended to publish more. Blake's illustrations drew closely from the text, but he also had the images draw upon metaphors in the poem.

Lot: 36968 - Blake & Young - O treacherous conscience!

This spectacular illustration is from William Blake as part of Edward Young's long poem entitled The Complaint and the Consolation or Night Thoughts. The poem was issued in several pages with each featuring elegant engraved border illustrations by William Blake. The work was printed by Robert Noble in London in 1797 and published by Richard Edwards. Young's poem was about death and loss over a series of nights. This particular illustration was printed on larger paper with an uncut edge, this is important as the copperplate typically took up most of the page, thus losing some plate marks. (Bentley, Blake Books) "Of the merit of Mr. Blake . the editor conceives it to be unnecessary to speak. To the eyes of the discerning it need not be pointed out; and while the taste for the arts of design shall continue to exist, the original conception, and the bold and masterly execution of this artist cannot be unnoticed or unadmired." (advertisement, p.viii) Blake had originally done 537 watercolor drawings illustrating the poem choosing 43 for this publication, though he had intended to publish more. Blake's illustrations drew closely from the text, but he also had the images draw upon metaphors in the poem.

Lot: 36969 - Blake & Young - Measuring his motions by revolving spheres

This spectacular illustration is from William Blake as part of Edward Young's long poem entitled The Complaint and the Consolation or Night Thoughts. The poem was issued in several pages with each featuring elegant engraved border illustrations by William Blake. The work was printed by Robert Noble in London in 1797 and published by Richard Edwards. Young's poem was about death and loss over a series of nights. This particular illustration was printed on larger paper with an uncut edge, this is important as the copperplate typically took up most of the page, thus losing some plate marks. (Bentley, Blake Books) "Of the merit of Mr. Blake . the editor conceives it to be unnecessary to speak. To the eyes of the discerning it need not be pointed out; and while the taste for the arts of design shall continue to exist, the original conception, and the bold and masterly execution of this artist cannot be unnoticed or unadmired." (advertisement, p.viii) Blake had originally done 537 watercolor drawings illustrating the poem choosing 43 for this publication, though he had intended to publish more. Blake's illustrations drew closely from the text, but he also had the images draw upon metaphors in the poem.

Lot: 36970 - Maitres Affiches by Willette - Exposition Charlet. 194

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36971 - Maitres Affiches by Cheret - La Danse. 193

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36972 - Maitres Affiches by Cheret - L'Arc-en-Ciel. 21

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36973 - Maitres Affiches by Bac - Yvette Guilbert. 19

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36974 - Maitres Affiches by Rhead - The Sun Magazine. 200

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36975 - Maitres Affiches by Rassenfosse - Tournoi de Lutte de Liege. 224

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36976 - Maitres Affiches by Meunier - Savon Starlight. 196

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. Each lithograph is on rare and premium quality japon paper. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs

Lot: 36977 - Maitres Affiches by Mucha - La Samaritaine. 166

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph

Lot: 36978 - Maitres Affiches by Mucha - Salon de Cents. 94

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph

Lot: 36979 - Redoute, Folio - Rose - Rosa Redutea glauca

This folio, stipple engraving is from the first edition of Pierre Joseph Redoute's Les Roses. The work was published in Paris by Firmin Didot between 1817 and 1824. The text was written by Claude Antoine Thory. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36980 - Redoute, Folio - Rose - Rosa Rubiginosa triflora

This folio, stipple engraving is from the first edition of Pierre Joseph Redoute's Les Roses. The work was published in Paris by Firmin Didot between 1817 and 1824. The text was written by Claude Antoine Thory. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36981 - Redoute, Folio - Rose - Rosa Cinnamomea Maialis

This folio, stipple engraving is from the first edition of Pierre Joseph Redoute's Les Roses. The work was published in Paris by Firmin Didot between 1817 and 1824. The text was written by Claude Antoine Thory. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36982 - Redoute, Folio - Rose - Rosa Redutea rubescens

This folio, stipple engraving is from the first edition of Pierre Joseph Redoute's Les Roses. The work was published in Paris by Firmin Didot between 1817 and 1824. The text was written by Claude Antoine Thory. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36983 - Redoute, Folio - Rose - Rosa Moschata

This folio, stipple engraving is from the first edition of Pierre Joseph Redoute's Les Roses. The work was published in Paris by Firmin Didot between 1817 and 1824. The text was written by Claude Antoine Thory. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36984 - Redoute, Folio - Rose - Rosa bifera officinalis

This folio, stipple engraving is from the first edition of Pierre Joseph Redoute's Les Roses. The work was published in Paris by Firmin Didot between 1817 and 1824. The text was written by Claude Antoine Thory. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36985 - Weinmann - 8 Iris Engravings

This beautiful botanical mezzotint is from Johann Weinmann's Phytanthoza Iconographia (or Duidelyke Vertoning...). It was published in Amsterdam by Zacharias Romberg between 1736 and 1748. This is the Dutch language edition of the 18th century botanical master-work. The work contained 1,025 mezzotint engravings, printed in color with the finished color applied by hand. "The copperplates (…) were printed according to Johannes Teyler's invention, patented 1688; they are engraved in combination with mezzotint printed in colour and finished by hand" (Landwehr 212). It was the first published work to include engravings by the greatest botanical artist of the eighteenth century-- Georg Dionysus Ehret. It provided one of the most comprehensive botanical references of the 18th century. It also included work from B. Seuter, J.E. Ridinger, J.J. Haid, N. Asamin, & others. Based on Weinmann's collection of plants, and financed by him, this is the first complete edition of what amounts to a comprehensive iconography of all the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. Weinmann, an apothecary from Regensburg, was the organiser of this huge undertaking, but the work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. Many plates are 'of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds' (Dunthorne). 'The mezzotint process used [in the present work]... had been invented by Johann Teyler in the Netherlands around 1688. As practised here by Bartholomaeus Seuter (1678-1754) and Johann Elias Ridinger (1698-1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects. Some of the best work was done in later volumes by Johann Jakob Haid (1704-1767)' (Hunt)

Lot: 36986 - Redoute - Phlox reptans

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. This first edition work was published in Paris in 1827 by Panckoucke. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36987 - Redoute - Plumbago caerulea

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. This first edition work was published in Paris in 1827 by Panckoucke. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36988 - Redoute - Crocus sativans

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. This first edition work was published in Paris in 1827 by Panckoucke. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36989 - Redoute - Rose (Rosier de Candolle)

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. This first edition work was published in Paris in 1827 by Panckoucke. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36990 - Redoute - Peach (Reine Claude franche)

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. This first edition work was published in Paris in 1827 by Panckoucke. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36991 - Redoute - Grapes (Cornichons blancs)

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. This first edition work was published in Paris in 1827 by Panckoucke. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 36992 - Redoute, Folio - Caribbean New World Pancratius Lily - Pancratium Speciosum. 156

This exquisite folio stipple engraving is from Pierre Joseph Redoute's Les Liliacees. The work was published in Paris between 1802 and 1816. Each engraving features original hand-coloring and is on woven, watermarked paper. Les Liliacees was completed by Redoute while under the patronage of Empress Josephine, wife of Napoleon. The work is often considered Redoute's masterpiece. It was his largest and most ambitious work, representing not only lilies as the title suggests, but images of iris, orchids, amaryllis, and other botanical groups. The images were drawn from Empress Josephine's gardens at Malmaison. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. His fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. He was often referred to as the "Raphael of Flowers" because of his exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.

Lot: 36993 - Redoute, Folio - Iris Pseudacorus. 235

This exquisite folio stipple engraving is from Pierre Joseph Redoute's Les Liliacees. The work was published in Paris between 1802 and 1816. Each engraving features original hand-coloring and is on woven, watermarked paper. Les Liliacees was completed by Redoute while under the patronage of Empress Josephine, wife of Napoleon. The work is often considered Redoute's masterpiece. It was his largest and most ambitious work, representing not only lilies as the title suggests, but images of iris, orchids, amaryllis, and other botanical groups. The images were drawn from Empress Josephine's gardens at Malmaison. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. His fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. He was often referred to as the "Raphael of Flowers" because of his exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.

Lot: 36994 - Gould - Spotted-billed Toucanet (Selenidera Maculirostris)

This exquisite lithograph is from John Gould's A Monograph of the Ramphastidae, or Family of Toucans. This is from the second edition of the work which was published in London by Taylor & Francis for the Author between 1852 and 1854. The original plates were completed by Gould and H. C. Richter and printed by Hullmandel & Walton. Many consider this work to contain the most stunning images Gould ever produced. The toucans are represented with true-to-life details. Rich, luminous colors and splendid composition combine to make the Toucans come to life on the page. Gould was the foremost bird artist and publisher in Great Britain, publishing over 15 folio sets. He employed the best artists of his day to complete his works. A Monograph of the Ramphastidae features lithographs after Gould himself, H. C. Richter, and W. Hart. The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias" (Toledo, 1526, chapter 42), in 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux" (Paris, 1555, p.184). Andre Thevet first used the name 'Toucan' with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus' corrupted form of the latter ("Ramphastos") which is how the family was still recognized at the time of the publication of the present image.

Lot: 36995 - Gould - Cuvier's Toucan (Ramphastos Cuvieri)

This exquisite lithograph is from John Gould's A Monograph of the Ramphastidae, or Family of Toucans. This is from the second edition of the work which was published in London by Taylor & Francis for the Author between 1852 and 1854. The original plates were completed by Gould and H. C. Richter and printed by Hullmandel & Walton. Many consider this work to contain the most stunning images Gould ever produced. The toucans are represented with true-to-life details. Rich, luminous colors and splendid composition combine to make the Toucans come to life on the page. Gould was the foremost bird artist and publisher in Great Britain, publishing over 15 folio sets. He employed the best artists of his day to complete his works. A Monograph of the Ramphastidae features lithographs after Gould himself, H. C. Richter, and W. Hart. The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias" (Toledo, 1526, chapter 42), in 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux" (Paris, 1555, p.184). Andre Thevet first used the name 'Toucan' with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus' corrupted form of the latter ("Ramphastos") which is how the family was still recognized at the time of the publication of the present image.

Lot: 36996 - Thornton, Folio - A Group of Carnations

This dramatic folio botanical engraving is from Dr. Robert John Thornton’s work New Illustration of the Sexual System of...Linnaeus. Comprehending...The Temple of Flora. The work was published in London by between 1787 and 1810. Each engraving was made using stipple, mezzotint, and aquatint processes and feature hand-coloring heightened with gum Arabic. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. Temple of Flora is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for Temple of Flora. Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 36997 - Roberts, RSE Folio - Kom-Ombo

David Roberts' most famous work, Views in the Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, was published by E. G. Moon in London between 1846 and 1849. This work is known for its extremely detailed, folio lithographs which depict various scenes of the Holy Land and the Middle East. The work was issued in three states: tinted, tinted proof, and—the grandest and most expensive format, as here—hand-colored and mounted on card. Roberts journeyed to the Holy Land in 1838 where he spent much time depicting the architecture, costumes, and landscapes that he found there. The culmination of all his efforts, Views in the Holy Land..., is indeed one of the greatest travel works ever completed. George Croly wrote the wonderfully descriptive text, when available, and Louis Haghe turned Roberts' drawings into the magnificent lithographs seen here.David Roberts truly introduced the western world to Egypt and the Middle East through this work. The lithographs were produced from his on-site drawings of temples, landscapes, and historic monuments. He was the first Westerner granted permission to enter many of the sacred mosques or monuments. He completed his sketches over an 11 month journey between 1838 and 1839.“Roberts’ Holy Land has a worldwide reputation; nothing of a similar character has ever been produced that can bear a comparison with it” (Ran, 6) ... “These prints are of excellence unsurpassed in Europe… The firm of Day and Haghe raised lithography to perhaps the highest point it ever attained… [In Roberts’ own words,] ‘Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple, and unlabored, with a masterly vigor and boldness which none but a painter like him could have transferred to stone” (Abbey, 340-41).

Lot: 36998 - Roberts, RSE Folio - Oblique View of the Hall of Columns, Karnac

David Roberts' most famous work, Views in the Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, was published by E. G. Moon in London between 1846 and 1849. This work is known for its extremely detailed, folio lithographs which depict various scenes of the Holy Land and the Middle East. The work was issued in three states: tinted, tinted proof, and—the grandest and most expensive format, as here—hand-colored and mounted on card. Roberts journeyed to the Holy Land in 1838 where he spent much time depicting the architecture, costumes, and landscapes that he found there. The culmination of all his efforts, Views in the Holy Land..., is indeed one of the greatest travel works ever completed. George Croly wrote the wonderfully descriptive text, when available, and Louis Haghe turned Roberts' drawings into the magnificent lithographs seen here.David Roberts truly introduced the western world to Egypt and the Middle East through this work. The lithographs were produced from his on-site drawings of temples, landscapes, and historic monuments. He was the first Westerner granted permission to enter many of the sacred mosques or monuments. He completed his sketches over an 11 month journey between 1838 and 1839.“Roberts’ Holy Land has a worldwide reputation; nothing of a similar character has ever been produced that can bear a comparison with it” (Ran, 6) ... “These prints are of excellence unsurpassed in Europe… The firm of Day and Haghe raised lithography to perhaps the highest point it ever attained… [In Roberts’ own words,] ‘Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple, and unlabored, with a masterly vigor and boldness which none but a painter like him could have transferred to stone” (Abbey, 340-41).

Lot: 36999 - Catlin, On Card - Joc-O-Sot, The Walking Bear, A Sauk Chief from the Upper Missouri U. S. Am

George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. From drawings and notes of the author, made during eight years travel amongst forty-eight of the wildest and most remote tribes of savages in North America. This is afolio lithograph that was published in London circa 1875 for George Catlin by Day & Haghe as part of Reese's fourth issue. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs were printed by Day & Haghe from a selection of the greatest images from Catlin’s travels.George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive.Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being." In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian." He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate.

Lot: 37000 - Catlin, On Card - Ball Players

George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. From drawings and notes of the author, made during eight years travel amongst forty-eight of the wildest and most remote tribes of savages in North America. This is a first edition folio lithograph that was published in London beginning in 1844 for George Catlin by Day & Haghe. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. This set is the rarest, most expensive, and desirable edition. The lithographs were printed by Day & Haghe from a selection of the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being." In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian." He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate.

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