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Antique Maps, Books, & Prints of Natural

Sat Apr 27 - 10:00AM


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Trillium Antique Prints amp Rare Books

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  • Prichard - 7 Native American Aquatint

    Prichard - 7 Native American Aquatint

  • McKenney & Hall - Pair of Native

    McKenney & Hall - Pair of Native

  • McKenney & Hall - Tah-Chee, A Cherokee

    McKenney & Hall - Tah-Chee, A Cherokee

  • David Roberts - Alexandria

    David Roberts - Alexandria

Lot: 61801 - Prichard - 7 Native American Aquatint Engravings

This historical aquatint is from James C. Prichard's The Natural History of Man; Comprising Inquiries into the Modifying Influence of Physical and Moral Agencies on the Different Tribes of the Human Family. The work was edited by Edwin Norris and published by H. Bailliere in London in 1855. The work featured portraits of native people around the world. It was Prichard's intention to establish that the human race began as all dark-skinned. While his view modified some in his research, he still concluded the human race was all of one species and family. Prichard's work became an important foundation for modern ethnological science.

Lot: 61802 - McKenney & Hall - Pair of Native American Lithographs

Included in this lot: Red-Bird, A Winnebago Mon-Ka-Ush-Ka, A Sioux Chief Description of the work: This original, hand-colored lithograph comes from the 1870 octavo edition of McKenney & Hall's History of the Indian Tribes of North America, published by Rice & Hart in Philadelphia and printed by J.T. Bowen. 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.

Lot: 61803 - McKenney & Hall - Tah-Chee, A Cherokee Chief

This original, hand-colored lithograph comes from the 1870 octavo edition of McKenney & Hall's History of the Indian Tribes of North America, published by Rice & Hart in Philadelphia and printed by J.T. Bowen. 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.

Lot: 61804 - David Roberts - Alexandria

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 dutone lithographed plates which depict various scenes of the Holy Land and the Middle East. 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: 61805 - David Roberts - View on the Nile, Ferry to Gizeh

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 dutone lithographed plates which depict various scenes of the Holy Land and the Middle East. 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: 61806 - David Roberts - Grand Approach to the Temple of Philae, Nubia

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 dutone lithographed plates which depict various scenes of the Holy Land and the Middle East. 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: 61807 - David Roberts - Edfou

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 dutone lithographed plates which depict various scenes of the Holy Land and the Middle East. 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: 61808 - Wilkes - Pair of Antarctic Views

Included in this lot: View of the Antarctic Continent Vincennes in Disappointment Bay Description of the work: This historic engraving is from Charles Wilkes's Narrative of the United States Exploring Expedition. During the Years 1838, 1839, 1840, 1841, 1842. The work was published in Philadelphia by Lea and Blanchard in 1845. This is the third edition of the important narrative from Wilkes. It is the earliest and best generally available edition on the market. The work was the official account of the first seaborne scientific expedition by the United States government. The illustrations for the work depicted the Pacific islands and their natives, Hawaiian volcanoes, Australia, the continent of Antarctica, an early rendition of the outpost at Astoria, an encampment on the Sacramento with Californios relaxing, Mt. Shasta, and more. The work also included significant maps including one of the Western half of the United States, a Chart of the World, the Antarctic, Viti Group and Feejee Islands, the Oregon Territory, and Hawaii or Sandwich Islands. As Howes notes, this was "The first United States scientific expedition by sea. Wilkes sailed along and surveyed the whole Northwest coast and his exploring parties penetrated into the interior at many points..." Hill notes that Wilkes "sailed into the Antarctic Ocean and along the Antarctic Continent from 150° to 97° East, reporting land at a number of points in the region now known as Wilkesland. He visited Tonga, the Fiji group, and the Hawaiian Islands in 1840, and in 1841 explored the west coast of North America. The findings were timely, in view of the dispute with Great Britain over the Oregon Territory, and he also visited San Francisco Bay and the Sacramento River...."

Lot: 61809 - Bonne - Map of part of Canada, Hudson Bay

This attractive map is from Rigobert Bonne's Amerique published in Paris in 1774 by Lattre. Bonne was an important French cartographer. He succeeded Jacques Nicolas Bellin as the Royal Hydrographer at the Depot of La Marine in 1773. He published several important charts and maps in the late 18th century. Bonne's maps trended more towards the scientific and practical and eschewed the ornate details. This set the new standard for cartography. Map featured: États-Unis de l'Amérique This early colonial map details the United States and the French Louisiana. It extends west to the Padouca Indians region, along the Missouri, and includes most of Texas. It adds a lot of detail to the Missouri & Mississippi River Valleys. It also draws the early borders of the Colonies including Georgia, the Carolinas, and Virginia (but with territory extending to the Mississippi). It also shows French Forts and Fur Trading Posts indicative of all the French activity and exploration of this time. It details the Midwest & Great Lakes and gives care to name the Indian places. It shows Florida as an Archipelago.

Lot: 61810 - Bonne - Map of the Eastern Coast of North America

This attractive map is from Rigobert Bonne's Amerique published in Paris in 1774 by Lattre. Bonne was an important French cartographer. He succeeded Jacques Nicolas Bellin as the Royal Hydrographer at the Depot of La Marine in 1773. He published several important charts and maps in the late 18th century. Bonne's maps trended more towards the scientific and practical and eschewed the ornate details. This set the new standard for cartography. Map featured: États-Unis de l'Amérique This early colonial map details the United States and the French Louisiana. It extends west to the Padouca Indians region, along the Missouri, and includes most of Texas. It adds a lot of detail to the Missouri & Mississippi River Valleys. It also draws the early borders of the Colonies including Georgia, the Carolinas, and Virginia (but with territory extending to the Mississippi). It also shows French Forts and Fur Trading Posts indicative of all the French activity and exploration of this time. It details the Midwest & Great Lakes and gives care to name the Indian places. It shows Florida as an Archipelago.

Lot: 61811 - Zatta - Map of North America

This excellent map is from Antonio Zatta's Atlante Novissimo published in Venice between 1776 and 1785. Zatta was an Italian editor, cartographer, and publisher. He was particularly active between 1757 and 1797, and is most known for the atlas presented here Atlante Novissimo. In this work he published the first impression of the Islands visited by Captain Cook. Map featured: America settentrionale divisa ne'suoi principali stati This is a detailed map of North America. It also includes the imagined Chinese Colony of Fou Sang in Canada based on Hui Shen's supposed voyage of 499 AD. It was mostly discredited later, but was believed to be where the Chinese first made contact with the west coast of North America. It shows the Northwest Passage based on Russian Explorations published by the Royal Academy of Sciences in Paris. The scale of North America is too wide, and many rivers are shown far longer than the actual reach. Zatta combined almost every 17th and 18th century myth and fact of the American west into this single map.

Lot: 61812 - Carey, pub. 1814 - Map of Scotland with the Principal Roads

This engraved map is from Mathew Carey's General Atlas, improved and enlarged: being a collection of maps of the world and quarters, their principal empires, kingdoms, &c. The work was published in Philadelphia in 1814 by M. Carey & Son. This was considered the third and rarest edition. It was "the first atlas made in the United States to employ color on the maps." (Rumsey) Mathew Carey (1760-1839) was born in Dublin, Ireland and emigrated to the United States in 1784. He was an American publisher and economist based in Philadelphia, Pennsylvania. He was active in parliamentary reform in Ireland and remained politcal in America. Benjamin Franklin recommended Carey to Gilbert du Motier, Marquis de Lafayette. He gave Carey a check for $400 which he used to establish his publishing business and bookshop.

Lot: 61813 - Carey, pub. 1814 - Map of Kentucky

This engraved map is from Mathew Carey's General Atlas, improved and enlarged: being a collection of maps of the world and quarters, their principal empires, kingdoms, &c. The work was published in Philadelphia in 1814 by M. Carey & Son. This was considered the third and rarest edition. It was "the first atlas made in the United States to employ color on the maps." (Rumsey) Mathew Carey (1760-1839) was born in Dublin, Ireland and emigrated to the United States in 1784. He was an American publisher and economist based in Philadelphia, Pennsylvania. He was active in parliamentary reform in Ireland and remained politcal in America. Benjamin Franklin recommended Carey to Gilbert du Motier, Marquis de Lafayette. He gave Carey a check for $400 which he used to establish his publishing business and bookshop.

Lot: 61814 - Carey, pub. 1814 - Map of the State of Tennessee

This engraved map is from Mathew Carey's General Atlas, improved and enlarged: being a collection of maps of the world and quarters, their principal empires, kingdoms, &c. The work was published in Philadelphia in 1814 by M. Carey & Son. This was considered the third and rarest edition. It was "the first atlas made in the United States to employ color on the maps." (Rumsey) Mathew Carey (1760-1839) was born in Dublin, Ireland and emigrated to the United States in 1784. He was an American publisher and economist based in Philadelphia, Pennsylvania. He was active in parliamentary reform in Ireland and remained politcal in America. Benjamin Franklin recommended Carey to Gilbert du Motier, Marquis de Lafayette. He gave Carey a check for $400 which he used to establish his publishing business and bookshop.

Lot: 61815 - Carey, pub. 1814 - Map of Louisiana

This engraved map is from Mathew Carey's General Atlas, improved and enlarged: being a collection of maps of the world and quarters, their principal empires, kingdoms, &c. The work was published in Philadelphia in 1814 by M. Carey & Son. This was considered the third and rarest edition. It was "the first atlas made in the United States to employ color on the maps." (Rumsey) Mathew Carey (1760-1839) was born in Dublin, Ireland and emigrated to the United States in 1784. He was an American publisher and economist based in Philadelphia, Pennsylvania. He was active in parliamentary reform in Ireland and remained politcal in America. Benjamin Franklin recommended Carey to Gilbert du Motier, Marquis de Lafayette. He gave Carey a check for $400 which he used to establish his publishing business and bookshop.

Lot: 61816 - Carey, pub. 1814 - Map of the Mississippi Territory

This engraved map is from Mathew Carey's General Atlas, improved and enlarged: being a collection of maps of the world and quarters, their principal empires, kingdoms, &c. The work was published in Philadelphia in 1814 by M. Carey & Son. This was considered the third and rarest edition. It was "the first atlas made in the United States to employ color on the maps." (Rumsey) Mathew Carey (1760-1839) was born in Dublin, Ireland and emigrated to the United States in 1784. He was an American publisher and economist based in Philadelphia, Pennsylvania. He was active in parliamentary reform in Ireland and remained politcal in America. Benjamin Franklin recommended Carey to Gilbert du Motier, Marquis de Lafayette. He gave Carey a check for $400 which he used to establish his publishing business and bookshop.

Lot: 61817 - Ptolemy & Magini, pub. 1620 - Map of Cyprus

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61818 - Ptolemy & Magini, pub. 1620 - Map of Turkey

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61819 - Ptolemy & Magini, pub. 1620 - Map of France / Verso: Map of Germany

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61820 - Ptolemy & Magini, pub. 1620 - Map of the British Isles (England, Scotland, Ireland) / Verso: Map of Spain & Portugal

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61821 - Ptolemy & Magini, pub. 1620 - Map of Asia (Includes Japan and part of Ausralia as Terra Incognita)

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61822 - Ptolemy & Magini, pub. 1620 - Map of Northeast Asia and Northwest America including Japan

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61823 - Ptolemy & Magini, pub. 1620 - Map of the World with Six Windheads

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61824 - Ptolemy & Magini, pub. 1620 - Double Hemisphere Map of the World

This early map engraving is from Claudius Ptolemaeus (Ptolemy) and Giovanni Antonio Magini's Geografia cioè Descrittione Universale della Terra Partita in due volumni, Nel Primo de' quali si contengono gli Otto Libri della Geographia di Cl. Tolome. The work was published in Padova by Paolo, & Francesco Galignani between 1620 and 1621. This is considered the second Italian edition from Magini. The maps were done by Girolamo Porro. 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: 61825 - De Jode, pub. 1593 - Map of part of Germany (Reiterata Episcopatus Monasteriensis geographica…)

This truly significant map is from one of the rarest atlases ever published, Gerard and Cornelis de Jode's Speculum orbis Terrae. The work was published in Antwerp in 1593 by Arnold Coninx for the widow and heirs. This is considered the second edition, revised an expanded. The first edition was published in 1578. Van Ortroy knew of only 14 copies of the second edition being published. (Skelton,

Lot: 61826 - De Jode, pub. 1593 - Map of Hesse, Germany (Hessiae Seu Cattorum Nobilissimorum…)

This truly significant map is from one of the rarest atlases ever published, Gerard and Cornelis de Jode's Speculum orbis Terrae. The work was published in Antwerp in 1593 by Arnold Coninx for the widow and heirs. This is considered the second edition, revised an expanded. The first edition was published in 1578. Van Ortroy knew of only 14 copies of the second edition being published. (Skelton,

Lot: 61827 - Braun & Hogenberg, pub. 1575 - View of Canterbury, England

This extraordinary, originally hand-colored engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. This was from a combined Latin and French edition of the work and was published in Augsberg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famouse of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 61828 - Braun & Hogenberg, pub. 1575 - View of Zurich, Switzerland

This extraordinary, originally hand-colored engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. This was from a combined Latin and French edition of the work and was published in Augsberg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famouse of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 61829 - Braun & Hogenberg, pub. 1575 - View of Utrecht, Netherlands

This extraordinary, originally hand-colored engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. This was from a combined Latin and French edition of the work and was published in Augsberg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famouse of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 61830 - Braun & Hogenberg, pub. 1575 - View of Brussels, Belgium

This extraordinary, originally hand-colored engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. This was from a combined Latin and French edition of the work and was published in Augsberg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famouse of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 61831 - Braun & Hogenberg, pub. 1575 - View of Stockholm, Sweden

This extraordinary, originally hand-colored engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. This was from a combined Latin and French edition of the work and was published in Augsberg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famouse of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 61832 - Braun & Hogenberg, pub. 1575 - View of Cairo, Egypt

This extraordinary, originally hand-colored engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. This was from a combined Latin and French edition of the work and was published in Augsberg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famouse of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 61833 - Filomarino - Mount Vesuvius Volcano Erupting. 23

This captivating engraving is from Ascanio Filomarino Duca della Torre's Raccolta di Tutte le Vedute che esistevano nel Gabinetto del Duca della Torre. Rappresentanti L'Eruzioni del Monte Vesuvio. Fin oggi accadute. Con le rispettive descrizioni ora per la prima volta ricavate dalla Storia e con l'aggiunta delle lettere di Plinio il giovine nelle quali vien riferito il primo incendio; avvenuto nell'anno 79. dell'Era Cristiana. Al merito ...del Sig. D. Nicola Filomarino Duca della Torre.... The work was published in Naples by Nicola Gervasi between 1805 and 1812. The work had featured numerous views of the eruption of Mount Vesuvius.

Lot: 61834 - Piranesi, Large Folio - Basilica of San Paolo; Veduta della Basilica di S. Paulo fuor delle mura, eretta da Costantino Magno. 6

This extraordinary large folio etching is from Giovanni Battista Piranesi's Vedute di Roma. The etchings available are from the late 18th and early 19th centuries. Some are from the last Rome edition circa 1785-1790 and first Paris edition from 1795-1805. Piranesi 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. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness."

Lot: 61835 - Piranesi, Large Folio - Port of Ripa Grande; Veduta del Porto di Ripa Grande. 2

This extraordinary large folio etching is from Giovanni Battista Piranesi's Vedute di Roma. The etchings available are from the late 18th and early 19th centuries. Some are from the last Rome edition circa 1785-1790 and first Paris edition from 1795-1805. Piranesi 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. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness."

Lot: 61836 - Hamilton - Pair of Engravings of a Painting from a Grecian Vase

This originally hand-colored folio engraving is from Pierre Francois Hughues d'Hancarville's work Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. The work was published in Naples by Francesco Morelli between 1766 and 1767. This first edition publication was limited to 500 copies. The engravings illustrate Sir William Hamilton's first collection of ancient vases. The work is of particular importance in the development of neo-classical designs for pottery and porcelain, including Wedgwood.

Lot: 61837 - Hamilton - Pair of Engravings of a Painting from a Grecian Vase

This originally hand-colored folio engraving is from Pierre Francois Hughues d'Hancarville's work Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. The work was published in Naples by Francesco Morelli between 1766 and 1767. This first edition publication was limited to 500 copies. The engravings illustrate Sir William Hamilton's first collection of ancient vases. The work is of particular importance in the development of neo-classical designs for pottery and porcelain, including Wedgwood.

Lot: 61838 - Hamilton - Engraving of a Painting from a Grecian Vase. 2

This originally hand-colored folio engraving is from Pierre Francois Hughues d'Hancarville's work Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. The work was published in Naples by Francesco Morelli between 1766 and 1767. This first edition publication was limited to 500 copies. The engravings illustrate Sir William Hamilton's first collection of ancient vases. The work is of particular importance in the development of neo-classical designs for pottery and porcelain, including Wedgwood.

Lot: 61839 - Hamilton - Engraving of a Painting from a Grecian Vase. 30

This originally hand-colored folio engraving is from Pierre Francois Hughues d'Hancarville's work Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. The work was published in Naples by Francesco Morelli between 1766 and 1767. This first edition publication was limited to 500 copies. The engravings illustrate Sir William Hamilton's first collection of ancient vases. The work is of particular importance in the development of neo-classical designs for pottery and porcelain, including Wedgwood.

Lot: 61840 - Hamilton - Engraving of a Painting from a Grecian Vase. 45

This originally hand-colored folio engraving is from Pierre Francois Hughues d'Hancarville's work Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. The work was published in Naples by Francesco Morelli between 1766 and 1767. This first edition publication was limited to 500 copies. The engravings illustrate Sir William Hamilton's first collection of ancient vases. The work is of particular importance in the development of neo-classical designs for pottery and porcelain, including Wedgwood.

Lot: 61841 - L'Estampe Moderne by Grasset - Dans les Bois

This brightly colored lithographed poster is from L’Estampe Moderne. The work was published by one of the best printers of the day, Champenois. The lithographs were printed under the supervision of C. Masson and H. Piazza and published in Paris between May 1897 and April 1899. The work was sent out every month with four prints and a cover with art work by Alphonse Mucha by subscription only. The intention of this work was to “reanimate and disseminate the taste for prints” (issue 24), thus 2000 of each print were published plus 100 on Japan paper. This famous collection included works by major Art Nouveau artists including Alphonse Mucha, Louis Rhead, Marcel Lenoir, Henri Boutet, Henri Fantin-Latour, Edward Burne-Jones, and Théophile Steinlen. Every print has the blind stamp of a woman’s profile in the bottom right corner. The large format lithographs are on excellent quality paper. When available we will include a tissue descriptive paper original to the work. The lithographs were done by the artists, rather than after, which makes the plates original Art Nouveau.

Lot: 61842 - L'Estampe Moderne by Evenepoel - Au Square

This brightly colored lithographed poster is from L’Estampe Moderne. The work was published by one of the best printers of the day, Champenois. The lithographs were printed under the supervision of C. Masson and H. Piazza and published in Paris between May 1897 and April 1899. The work was sent out every month with four prints and a cover with art work by Alphonse Mucha by subscription only. The intention of this work was to “reanimate and disseminate the taste for prints” (issue 24), thus 2000 of each print were published plus 100 on Japan paper. This famous collection included works by major Art Nouveau artists including Alphonse Mucha, Louis Rhead, Marcel Lenoir, Henri Boutet, Henri Fantin-Latour, Edward Burne-Jones, and Théophile Steinlen. Every print has the blind stamp of a woman’s profile in the bottom right corner. The large format lithographs are on excellent quality paper. When available we will include a tissue descriptive paper original to the work. The lithographs were done by the artists, rather than after, which makes the plates original Art Nouveau.

Lot: 61843 - L'Estampe Moderne by Heran - Fleur de Mai

This brightly colored lithographed poster is from L’Estampe Moderne. The work was published by one of the best printers of the day, Champenois. The lithographs were printed under the supervision of C. Masson and H. Piazza and published in Paris between May 1897 and April 1899. The work was sent out every month with four prints and a cover with art work by Alphonse Mucha by subscription only. The intention of this work was to “reanimate and disseminate the taste for prints” (issue 24), thus 2000 of each print were published plus 100 on Japan paper. This famous collection included works by major Art Nouveau artists including Alphonse Mucha, Louis Rhead, Marcel Lenoir, Henri Boutet, Henri Fantin-Latour, Edward Burne-Jones, and Théophile Steinlen. Every print has the blind stamp of a woman’s profile in the bottom right corner. The large format lithographs are on excellent quality paper. When available we will include a tissue descriptive paper original to the work. The lithographs were done by the artists, rather than after, which makes the plates original Art Nouveau.

Lot: 61844 - Maindron by Steinlen - Lait pur Sterilise de la Vingeanne

This exquisite art nouveau plate is from Ernest Maindron’s Les Affiches Illustrees. This work was published and printed by the Librairie Artistique in Paris in 1896, edited by G. Boudet. This work and Ernest Maindron were highly influential in the development and publication of poster art. Les Affiches Illustrees was a revolutionary work on poster art that featured folio chromolithographed plates, reproducing the larger posters found in Paris during the late 1800s. Prominent artists contributed to the publication including Alphonse Mucha, Jules Cheret, Eugene Grasset, and Henri de Toulouse-Lautrec. This collectible work was limited to a printing of only 1025 copies.

Lot: 61845 - Maitres Affiches by Steinlen - Chocolat de la Compagnie Francaise. 170

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: 61846 - Maitres Affiches by Mucha - Bieres de la Meuse. 182

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: 61847 - Van Houtte - 3 Water Lily Prints

This beautiful botanical print comes from Louis Van Houtte's monumental work entitled Flore des Serres et des Jardins de l'Europe (Flowers of the Greenhouses and Gardens of Europe) published between 1845 and 1883. Van Houtte was considered one of the premier horticulturists of his day and served as the chief editor for this work in coordination with prominent botanist Charles Lemaire. Van Houtte owned many nurseries and greenhouses where many of the plants and flowers depicted in Flore des Serres were actually cultivated. These plates in essence acted as his catalogue, and thus feature what were the most desirable botanicals of the time. Orchids, roses, camellias, carnivorous plants, and tropical or exotic flowers were particularly shown in the work.

Lot: 61848 - Van Houtte - Passion Flower

This beautiful botanical print comes from Louis Van Houtte's monumental work entitled Flore des Serres et des Jardins de l'Europe (Flowers of the Greenhouses and Gardens of Europe) published between 1845 and 1883. Van Houtte was considered one of the premier horticulturists of his day and served as the chief editor for this work in coordination with prominent botanist Charles Lemaire. Van Houtte owned many nurseries and greenhouses where many of the plants and flowers depicted in Flore des Serres were actually cultivated. These plates in essence acted as his catalogue, and thus feature what were the most desirable botanicals of the time. Orchids, roses, camellias, carnivorous plants, and tropical or exotic flowers were particularly shown in the work.

Lot: 61849 - Van Houtte - Tomato

This beautiful botanical print comes from Louis Van Houtte's monumental work entitled Flore des Serres et des Jardins de l'Europe (Flowers of the Greenhouses and Gardens of Europe) published between 1845 and 1883. Van Houtte was considered one of the premier horticulturists of his day and served as the chief editor for this work in coordination with prominent botanist Charles Lemaire. Van Houtte owned many nurseries and greenhouses where many of the plants and flowers depicted in Flore des Serres were actually cultivated. These plates in essence acted as his catalogue, and thus feature what were the most desirable botanicals of the time. Orchids, roses, camellias, carnivorous plants, and tropical or exotic flowers were particularly shown in the work.

Lot: 61850 - Van Houtte - Cherry

This beautiful botanical print comes from Louis Van Houtte's monumental work entitled Flore des Serres et des Jardins de l'Europe (Flowers of the Greenhouses and Gardens of Europe) published between 1845 and 1883. Van Houtte was considered one of the premier horticulturists of his day and served as the chief editor for this work in coordination with prominent botanist Charles Lemaire. Van Houtte owned many nurseries and greenhouses where many of the plants and flowers depicted in Flore des Serres were actually cultivated. These plates in essence acted as his catalogue, and thus feature what were the most desirable botanicals of the time. Orchids, roses, camellias, carnivorous plants, and tropical or exotic flowers were particularly shown in the work.

Lot: 61851 - Merian - 3 Entomology Engravings

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: 61852 - Redoute - 4 Rose Engravings

This beautiful and highly collectible engraving is from Pierre Joseph Redoute & Claude Anthoine Thory's Les Roses. The work was published in Paris by Dufart and Hauer in 1828 and 1829. It is from the third edition published under the direction of Pirolle. 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. Redoute and Thory described almost all of the important roses that were known in their time. 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.

Lot: 61853 - Warner - 4 Orchid Lithographs

This beautiful orchid lithograph is from Robert Warner's work The Orchid Album, Comprising Coloured Figures and Descriptions of New, Rare, and Beautiful Orchidaceous Plants. The work was published in London between 1882 and 1897. The illustrations for the work were done by John Nugent Fitch, the nephew of Walter H. Fitch. This work was prolifically illustrated for orchid growers and lovers. It was produced as part of the Orchidelirium craze of the Victorian era. The work was to both accurately depict the orchids as well as describe their nomenclature and care. "Orchid hunting" was a treacherous sport and the volumes will often credit those who secured the specimens, often from difficult terrains in Central America, South America, and Asia.

Lot: 61854 - Greene - Pair: Red and Blue Macaw & Masked Parrakeet

This alluring woodblock engraving of a parrot with hand-finished coloring is from W. T. Greene’s Parrots in Captivity. George Bell & Sons published the work in London in 1884. Benjamin Fawcett is credited for creating the prints after drawings by A. F. Lydon. The work featured comprehensive text on the feeding and rearing of each bird kept in captivity. Parrots in Captivity was expansive in material featuring vibrant illustrations of macaws, cockatoos, lories, parrots, parakeets, and lovebirds. Greene’s work inspired many to attempt raising the parrots as pets, resulting in the steep decline in wild populations of many of the species featured to endangered levels or even extinction.

Lot: 61855 - Lesson - 6 Hummingbird Engravings

This decorative, hand-colored copper-plate engraving comes from Lesson’s Les trochilidees ou les colibris et les oiseaux-mouches. Rene Primevere Lesson’s work preceded Gould’s by more than 20 years. The work was published in Paris by Arthur Bertrand between 1832 and 1833. Lesson, a French naturalist and explorer, traveled on la Coquile and became enthralled with the remarkable birds. He employed top natural history artists, Pretre and Bevalat, to create the drawings for his noted work.

Lot: 61856 - Audubon, Amsterdam Ed - 3 Owl Elephant Folio Lithographs

Included in this lot: Long-eared Owl. 383 Hawk Owl. 378 Burrowing & Columbian Owl. 432 Description of the work: This remarkable, elephant folio lithograph is from the Amsterdam Edition of John James Audubon’s The Birds of America. The work was published in Amsterdam and New York by Johnson Reprint Corporation and Theatrum Orbis Terrarum between 1971 and 1972. The lithographs from the Amsterdam edition are highly respected and sought after because of the detail used in their creation. The complex but accurate process of color photo-lithography was used for printing each image. The publishers also chose to have a woven paper produced of the highest quality using 100% unbleached cotton rags with each sheet bearing a watermark. Only 250 copies of the Amsterdam edition were published and then sold by subscription. The printing was the first recreation of the Audubon plates in elephant folio size in 135 years. This edition is very appealing to the Audubon collector due to the look and feel of that of the original Havell edition.

Lot: 61857 - Audubon, Amsterdam Ed - 4 Gull or Shore Bird Elephant Folio Lithographs

Included in this lot: Common Gull. 212 Ivory Gull. 287 Burgomaster Gull. 396 Dusky Albatros. 407 Description of the work: This remarkable, elephant folio lithograph is from the Amsterdam Edition of John James Audubon’s The Birds of America. The work was published in Amsterdam and New York by Johnson Reprint Corporation and Theatrum Orbis Terrarum between 1971 and 1972. The lithographs from the Amsterdam edition are highly respected and sought after because of the detail used in their creation. The complex but accurate process of color photo-lithography was used for printing each image. The publishers also chose to have a woven paper produced of the highest quality using 100% unbleached cotton rags with each sheet bearing a watermark. Only 250 copies of the Amsterdam edition were published and then sold by subscription. The printing was the first recreation of the Audubon plates in elephant folio size in 135 years. This edition is very appealing to the Audubon collector due to the look and feel of that of the original Havell edition.

Lot: 61858 - Baird, Ridgway, Brewer - 3 Bird Head Engravings

This originally hand-colored wood-engraving is from A History of North American Birds. The work was done by Spencer Fullerton Baird, Robert Ridgway, and T. M. Brewer. The work was published in Boston by Little Brown and Company between 1874 and 1884. Robert Ridgway was responsible for the illustrations. "One of the great works on North American ornithology and for many years a standard reference ... the first major work on North American birds to supersede Audubon's Ornithological Biography of 1831-39 as a comprehensive general source." (Ellis Collection) This was an important work on American birds. “This work contains a description of the birds of North America north of Mexico, including Greenland and Alaska. The focus of this work is an account of the life history of the species, to which is added information about the geographical distribution of the birds and a brief description of the eggs and the individual species. Baird and Ridgway supplied the descriptive parts of the work, while Dr. Brewer dealt with the habits of the birds.” (Anker 25) Spencer Fullerton Baird (1823-1887) was considered to be one of the foremost American ornithologists of the 19th century. In 1880, Baird appointed Robert Ridgway (1850–1929) as the curator of birds at the Smithsonian. Ridgway also created the American Ornithologists' Union in 1883.

Lot: 61859 - Baird, Ridgway, Brewer - 5 Bird Head Engravings

This originally hand-colored wood-engraving is from A History of North American Birds. The work was done by Spencer Fullerton Baird, Robert Ridgway, and T. M. Brewer. The work was published in Boston by Little Brown and Company between 1874 and 1884. Robert Ridgway was responsible for the illustrations. "One of the great works on North American ornithology and for many years a standard reference ... the first major work on North American birds to supersede Audubon's Ornithological Biography of 1831-39 as a comprehensive general source." (Ellis Collection) This was an important work on American birds. “This work contains a description of the birds of North America north of Mexico, including Greenland and Alaska. The focus of this work is an account of the life history of the species, to which is added information about the geographical distribution of the birds and a brief description of the eggs and the individual species. Baird and Ridgway supplied the descriptive parts of the work, while Dr. Brewer dealt with the habits of the birds.” (Anker 25) Spencer Fullerton Baird (1823-1887) was considered to be one of the foremost American ornithologists of the 19th century. In 1880, Baird appointed Robert Ridgway (1850–1929) as the curator of birds at the Smithsonian. Ridgway also created the American Ornithologists' Union in 1883.

Lot: 61860 - Audubon - Musk Ox. 111

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61861 - Audubon - Columbian Black-Tailed Deer. 106

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61862 - Audubon - Long-tailed Deer. 118

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61863 - Audubon - Gray Fox. 21

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61864 - Audubon - Texan Hare. 133

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61865 - Audubon - Grizzly Bear. 131

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61866 - Audubon - Polar Bear. 91

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York in 1854. Quadrupeds was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 61867 - Donovan - 6 Coral or Sea Life Engravings

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: 61868 - Donovan - Spotted Breasted Parrakeet. 33

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: 61869 - Donovan - Pair of Bee-Eater Engravings: Nubian Bee-Eater & Scarlet-throated or Bullock's Bee-Eater

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: 61870 - Donovan - Pair of Butterfly Engravings

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: 61871 - Holbrook - Rattlesnake. 4

This originally hand-colored lithograph is from John Edwards Holbrook's North American Herpetology; or, a Description of the Reptiles Inhabiting the United States. The work was published in Philadelphia by J. Dobson in 1842. Holbrook was dilligent in providing accurate illustrations, providing live specimens to nearly 17 artists in order to best portraty the color and morphology of the animals. Sabin notes: "The first systematic work on the reptiles of the United States ever attempted. The plates are beautifully colored; and the work is worthy of a place in the library of the naturalist by the side of Audubon and Wilson." (Sabin) John Edwards Holbrook (1796-1871) was an American physician, zoologist, herpetologist, and naturalist. Through his work North American Herpetology... he illustrated every American species known to that time, which was mostly east of the Mississippi. This earned him being considered as of the Father of American Herpetology. Provenance: Collection of the late Al and Billy Steidel, Alexandria, VA

Lot: 61872 - Holbrook - Snake. 7

This originally hand-colored lithograph is from John Edwards Holbrook's North American Herpetology; or, a Description of the Reptiles Inhabiting the United States. The work was published in Philadelphia by J. Dobson in 1842. Holbrook was dilligent in providing accurate illustrations, providing live specimens to nearly 17 artists in order to best portraty the color and morphology of the animals. Sabin notes: "The first systematic work on the reptiles of the United States ever attempted. The plates are beautifully colored; and the work is worthy of a place in the library of the naturalist by the side of Audubon and Wilson." (Sabin) John Edwards Holbrook (1796-1871) was an American physician, zoologist, herpetologist, and naturalist. Through his work North American Herpetology... he illustrated every American species known to that time, which was mostly east of the Mississippi. This earned him being considered as of the Father of American Herpetology. Provenance: Collection of the late Al and Billy Steidel, Alexandria, VA

Lot: 61873 - Holbrook - Pair of Frog or Toad Lithographs

This originally hand-colored lithograph is from John Edwards Holbrook's North American Herpetology; or, a Description of the Reptiles Inhabiting the United States. The work was published in Philadelphia by J. Dobson in 1842. Holbrook was dilligent in providing accurate illustrations, providing live specimens to nearly 17 artists in order to best portraty the color and morphology of the animals. Sabin notes: "The first systematic work on the reptiles of the United States ever attempted. The plates are beautifully colored; and the work is worthy of a place in the library of the naturalist by the side of Audubon and Wilson." (Sabin) John Edwards Holbrook (1796-1871) was an American physician, zoologist, herpetologist, and naturalist. Through his work North American Herpetology... he illustrated every American species known to that time, which was mostly east of the Mississippi. This earned him being considered as of the Father of American Herpetology. Provenance: Collection of the late Al and Billy Steidel, Alexandria, VA

Lot: 61874 - Holbrook - Turtle or Tortoise. 2

This originally hand-colored lithograph is from John Edwards Holbrook's North American Herpetology; or, a Description of the Reptiles Inhabiting the United States. The work was published in Philadelphia by J. Dobson in 1842. Holbrook was dilligent in providing accurate illustrations, providing live specimens to nearly 17 artists in order to best portraty the color and morphology of the animals. Sabin notes: "The first systematic work on the reptiles of the United States ever attempted. The plates are beautifully colored; and the work is worthy of a place in the library of the naturalist by the side of Audubon and Wilson." (Sabin) John Edwards Holbrook (1796-1871) was an American physician, zoologist, herpetologist, and naturalist. Through his work North American Herpetology... he illustrated every American species known to that time, which was mostly east of the Mississippi. This earned him being considered as of the Father of American Herpetology. Provenance: Collection of the late Al and Billy Steidel, Alexandria, VA

Lot: 61875 - Holbrook - Turtle or Tortoise. 6

This originally hand-colored lithograph is from John Edwards Holbrook's North American Herpetology; or, a Description of the Reptiles Inhabiting the United States. The work was published in Philadelphia by J. Dobson in 1842. Holbrook was dilligent in providing accurate illustrations, providing live specimens to nearly 17 artists in order to best portraty the color and morphology of the animals. Sabin notes: "The first systematic work on the reptiles of the United States ever attempted. The plates are beautifully colored; and the work is worthy of a place in the library of the naturalist by the side of Audubon and Wilson." (Sabin) John Edwards Holbrook (1796-1871) was an American physician, zoologist, herpetologist, and naturalist. Through his work North American Herpetology... he illustrated every American species known to that time, which was mostly east of the Mississippi. This earned him being considered as of the Father of American Herpetology. Provenance: Collection of the late Al and Billy Steidel, Alexandria, VA

Lot: 61876 - Slaney - Original Watercolor of Cardinal (or Virginian Nightingale)

This one-of-a-kind, original watercolor was part of a natural history watercolor album by Eliza Harriet Slaney and produced circa 1836. The watercolors featured subjects of birds, flowers, & butterflies and moths. The species were from New Holland / Australia, Brazil, Mexico, Cayenne, South America, Africa, and India. The sheer quantity of watercolors done by Slaney sets her natural history work apart. Also the use of scientific nomenclature and the noted country of origin were important features of her work. Exotic flora and fauna were highly in demand at this time, and well represented in Slaney's work. Little is known about Eliza Harriet Slaney (1804-1893). She illustrated natural history and country houses. Her use of color and attention to detail made her work exceptional. The Slaney family were part of the natural history elite and knew the Darwins. It was extraordinarily rare to have natural history art from women artists in this era and before, making this original watercolor more exceptional. Slaney took great care in the depictions and composition. Many of the images feature beautiful gold hilites as well.

Lot: 61877 - Original Watercolor of Dragonfly or Cape Lion-Ant

This beautiful natural history watercolor is from Sertum Naturae... [Manuscript album of original watercolors of birds, insects, mammals, fish, shells and more, title in manuscript]. The watercolors were completed in Great Britain in 1828 on Whatman watermarked paper. This highly artistic watercolor uses gouache and is finished with gum arabic and a few gilt highlights. The images were completed after Donovan, Sowerby, Latham and others. Each is identified in Latin names and identifies the source.

Lot: 61878 - Pair of Original Sea Life Watercolors: Nine-ray'd Sea-star or Asterias & Zebra Turbo Shells

This beautiful natural history watercolor is from Sertum Naturae... [Manuscript album of original watercolors of birds, insects, mammals, fish, shells and more, title in manuscript]. The watercolors were completed in Great Britain in 1828 on Whatman watermarked paper. This highly artistic watercolor uses gouache and is finished with gum arabic and a few gilt highlights. The images were completed after Donovan, Sowerby, Latham and others. Each is identified in Latin names and identifies the source.

Lot: 61879 - Original Watercolor of Narwhal Whale or Sea Unicorn

This beautiful natural history watercolor is from Sertum Naturae... [Manuscript album of original watercolors of birds, insects, mammals, fish, shells and more, title in manuscript]. The watercolors were completed in Great Britain in 1828 on Whatman watermarked paper. This highly artistic watercolor uses gouache and is finished with gum arabic and a few gilt highlights. The images were completed after Donovan, Sowerby, Latham and others. Each is identified in Latin names and identifies the source.

Lot: 61880 - Kiener - 4 Shell Engravings

This group of rare, first edition engravings is from Louis-Charles Kiener's Species général et iconographie des coquilles vivantes. The work was published in Paris between 1834 and 1850 by Rousseau, Bailliere, s.d. This was at the time that lithography was becoming the popular mode of publication, but Kiener chose to use stipple engraving with original hand-coloring for each plate in the work. It was an expansive work on conchology that classified the shells according to the systems of Cuvier and Lamarck. Kiener used the famous Delessert collection and the Natural History Museum of Paris to illustrate his work. Together these collections were the most varied fund of conchological matieral available. "He soon put it to good use; and in 1834 he published the first part of his Spécies. This exquisitely illustrated iconography, started before the Sowerbys and Reeve began to issue theirs, appeared at intervals up to 1879, when eleven volumes had been completed. All devoted to the illustration of marine gastopods with the exception of the tenth volume, which includes a monograph on the bivalve genus Thracia. The eleventh volume is the work of Paul Fischer. All the illustrations are by celebrated French engravers and artists of the day." (Dance. Hist. of Shell Collecting p. 137)

Lot: 61881 - Kiener - 5 Shell Engravings

This group of rare, first edition engravings is from Louis-Charles Kiener's Species général et iconographie des coquilles vivantes. The work was published in Paris between 1834 and 1850 by Rousseau, Bailliere, s.d. This was at the time that lithography was becoming the popular mode of publication, but Kiener chose to use stipple engraving with original hand-coloring for each plate in the work. It was an expansive work on conchology that classified the shells according to the systems of Cuvier and Lamarck. Kiener used the famous Delessert collection and the Natural History Museum of Paris to illustrate his work. Together these collections were the most varied fund of conchological matieral available. "He soon put it to good use; and in 1834 he published the first part of his Spécies. This exquisitely illustrated iconography, started before the Sowerbys and Reeve began to issue theirs, appeared at intervals up to 1879, when eleven volumes had been completed. All devoted to the illustration of marine gastopods with the exception of the tenth volume, which includes a monograph on the bivalve genus Thracia. The eleventh volume is the work of Paul Fischer. All the illustrations are by celebrated French engravers and artists of the day." (Dance. Hist. of Shell Collecting p. 137)

Lot: 61882 - Cuvier - 3 Fish Engravings

This scarce, originally hand-colored engraving is from one of the most important iconography on fishes of the world ever published. The work, by Georges Cuvier, is entitled Histoire Naturelle des Poissons. The work was published in Paris by F. G. Levrault between 1828 and 1849. The plates in this work are exceptional and noted for the precise engraving and delicacy of the coloring; many of which are heightened with gold and silver. The engravings also feature the correct Linnaen nomenclature of many fishes from Cook's voyages. "Cuvier and his assistant, Achille Valenciennes, did not actually see the voyage drawings; instead, they were to be plentifully supplied with tracings and sketched copies by a remarkable traveller, writer and artist called Sarah Bowdich. Together with her husband Thomas Bowdich, she had spent three-and-a-half years in Paris where they became close friends of Cuvier... The Bowdich copies of fish drawn by Georg Forster and other artists are in pencil on now-faded scraps of paper, and include a number of New Zealand species. They are bound in with the original Cuvier manuscript from which emerged the enormous 'Histoire naturelle des Poissons' (1824-49) in which some further fish from the Cook voyages were properly described and named..." (Andrews, The Southern Ark p. 57). "Nearly all that was known about fishes during the first half of the nineteenth century was summarized by Georges Cuvier and his pupil and successor, Achille Valenciennes, in the monumental 'Histoire Naturelle des Poissons'. ... (It) contains descriptions of 4,514 nominal species, the greater portion, approximately two-thirds, written by Valenciennes after the death of Cuvier in 1832. Today the work of Cuvier and Valenciennes is indispensable to systematic ichthyology ... In many parts of the world people assisted Cuvier with notes, manuscripts, and particularly specimens. For many years the Jardin des Plantes was the center where all ichthyological materials were deposited. Thus, Cuvier was able to bring together the richest and largest contemporary collection of fishes. Altogether, his 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').

Lot: 61883 - Seba - Clam Shells. 86

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: 61884 - Dumont - Crab. 1

This originally hand-colored, folio engraving is from Jules Sebastien Cesar Dumont D'Urville's Voyage au Pole Sud et dan l'Oceanie sur les corvettes l'Astrolabe et la Zelee... The work was published in Paris by Gide et Cie between 1841 and 1855. Dumont was a French explorer and naval officer. For thirty-eight months he explored the south and western Pacific, Australia, New Zealand, and Antarctica. Several seaweeds, plants, and shrubs are named after him, as well as D'Urville Island.

Lot: 61885 - Donovan - Pair or Fish Engravings: Streaked Wrasse & Ancient Wrasse or Old Wife

This original hand-colored engraving is from Edward Donovan’s work The Natural History of British Fishes. This first edition work was published in London between 1802 and 1808. 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: 61886 - Donovan - Perch. 52

This original hand-colored engraving is from Edward Donovan’s work The Natural History of British Fishes. This first edition work was published in London between 1802 and 1808. 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: 61887 - Donovan - Smooth Blenny. 79

This original hand-colored engraving is from Edward Donovan’s work The Natural History of British Fishes. This first edition work was published in London between 1802 and 1808. 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: 61888 - Donovan - Picked Shark or Dog Fish. 82

This original hand-colored engraving is from Edward Donovan’s work The Natural History of British Fishes. This first edition work was published in London between 1802 and 1808. 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: 61889 - Donovan - Stellated Globe-Fish or Blowfish. 66

This original hand-colored engraving is from Edward Donovan’s work The Natural History of British Fishes. This first edition work was published in London between 1802 and 1808. 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: 61890 - Bloch, Folio - Sea-Loche; Gadus Tricirratus. 165

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: 61891 - Bloch, Folio - Rochet; Trigla Cataphracta. 349

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: 61892 - Bloch, Folio - Trunck-Fish; Ostracion Triqueter. 130

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: 61893 - Bloch, Folio - Jumper; Scomber Saliens. 335

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: 61894 - Bloch, Folio - Sea Butterfly; Chaetodon Capistratus & C. Striatus. 205

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: 61895 - Bloch, Folio - Fish; Chaetodon Orbis & C. Rostratus. 202

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: 61896 - Audubon - White-winged Crossbill. 201

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: 61897 - Audubon - Anna Humming Bird. 252

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: 61898 - Audubon - Washington Sea Eagle. 13

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: 61899 - Audubon - Little Screech Owl. 40

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: 61900 - Audubon - Great Cinereous Owl. 35

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: 61901 - Audubon - Barn Owl. 34

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: 61902 - Audubon - Green Heron. 375

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: 61903 - Audubon - Shoveller Duck. 415

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: 61904 - Audubon - White Ibis. 360

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: 61905 - Audubon - Great White Heron. 368

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: 61906 - Audubon - Whooping Crane (Endangered). 313

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: 61907 - Nozeman - Pair of Engravings: Common Crane & Northern Gannet

This rare and striking large folio engraving is from Cornelius Nozeman's Nederlandsche Vogelen. The work was published by Jan Christiaan & Jan Sepp between 1770 and 1829 in Amsterdam. The work took nearly 60 years to complete with the combined effort of Nozemann and the engraver and artist, Christian Sepp. Dr. Martinus Houttuyn & C. J. Temminck helped complete Nederlandsche Vogelen after Nozeman & Sepp's passing. It is considered one of the greatest ornithology works of all time and "The First Comprehensive Account of the Avifauna of Holland" (Anker). The work was a true master piece that took over 60 years to complete. The work is very scarce with one of the last complete sets selling for $92,000 at auction.

Lot: 61908 - Knorr, Folio - Penguin. 2

This superb, originally hand-colored folio engraving is from Georg Wolfgang Knorr’s rare, monumental work, Delices de la Nature ou Choix de tout ce que les Trois Regnes de la Nature … un Cabinet or Selected Delights of Nature, or the Exquisite Collector's Cabinet. The work was published in Nuremberg in 1779 by Ches les Heritiers for Knorr. The engravings are truly great illustrations from a German natural history work from the Golden Age of German printing. Knorr was a German paleontologist, painter, draftsman, engraver, collector, and art dealer. He learned engraving from Leonhard Blanc and Martin Tyroff and worked on the illustrations in Jacob Scheuchzer’s Physica Sacra. He worked with the celebrated Christoph Jakob Trew as well. Knorr's Delices... is often considered his masterpiece.

Lot: 61909 - Ettinhausen - 4 Nature-Printed Botanicals

This scarce folio, nature-printed botanical is from Constantin Freiherr von Ettinghausen & Alois Pokorny’s Physiotypia Plantarum Austriacarum… The work was published in Vienna and Prague in 1855. Physiotypia was considered the most important work produced by nature printing. Nature printing allowed for true scientific precision because an exact impression of the plant was used to create the plates.

Lot: 61910 - Weinmann - 3 Mushroom 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: 61911 - Weinmann - 4 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: 61912 - Redoute - Tuberosa Flower

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's Choix des Plus Belles Fleurs. The work was published in Paris in 1827 by Panckoucke. It is considered the third edition with the plate numbers added to the engravings. 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. The present image shows Redouté at his most assured, combining the best of his artistic background with his skill as an observer of nature. He writes in the preface to the Choix: ''It is with the benefit of experience, and encouraged by the most flattering approval of naturalists and painters of France and abroad, that I undertook took this most agreeable of botanical works. By ceaseless observation of nature, in its constancy and its variety of forms and colours, I believe that I have reached that synthesis of botanical accuracy, composition and colouration that is essential to produce the perfect image of the plant kingdom.'

Lot: 61913 - Redoute, Folio - Rose; Rosa Rubiginosa Zabeth

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: 61914 - Original Chinese Watercolor of Fruit or Seed on Branch

This remarkable, one-of-a-kind watercolor is from a collection entitled Dessins Originaux Chinois.. The watercolor was done in the 1800s in Canton and is mounted to a larger sheet. The watercolors were clearly completed by very skilled hands. The collection included illustrations of flowers, natural history, customs, punishments, and naval scenes. There appears to have been some Indian influence in the style of illustration as well as subjects including a depiction of the mango, native to India. The work had two bookplates: one from Henry Rogers Broughton and the second from Winifred Bois. Broughton (1900-1973) amassed one of the most important collections of botanical art in the world. Winifred Bois (1875-1966) collected Chinese school watercolors and travelled extensively in the Far East. Her family held a prominent place among the merchants of Ceylon (Sri Lanka) from the 1860s.

Lot: 61915 - Original Chinese Watercolor of Fruit or Seed on Branch

This remarkable, one-of-a-kind watercolor is from a collection entitled Dessins Originaux Chinois.. The watercolor was done in the 1800s in Canton and is mounted to a larger sheet. The watercolors were clearly completed by very skilled hands. The collection included illustrations of flowers, natural history, customs, punishments, and naval scenes. There appears to have been some Indian influence in the style of illustration as well as subjects including a depiction of the mango, native to India. The work had two bookplates: one from Henry Rogers Broughton and the second from Winifred Bois. Broughton (1900-1973) amassed one of the most important collections of botanical art in the world. Winifred Bois (1875-1966) collected Chinese school watercolors and travelled extensively in the Far East. Her family held a prominent place among the merchants of Ceylon (Sri Lanka) from the 1860s.

Lot: 61916 - Besler - Tree Mallow (Malva Arborescens)

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 third edition published in 1713 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked 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: 61917 - 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 the third edition published in 1713 in Nuremberg and Eichstatt. The engraving was printed on superior chain-linked 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: 61918 - Gould - Black-eared Adelomyia Hummingbird

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Monograph of the Trochilidae, or Family of Hummingbirds published in London between 1849 and 1887. Family of Hummingbirds undoubtedly featured some of Gould’s most desired plates. Of particular note was the use of gold and silver leaf to create the appearance of the natural iridescence of the hummingbird’s feathers. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. "There is no one appreciative of the beauties of nature who will not recall... with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye.... The beautiful nests of humming-birds... will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs" (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north. The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61919 - Gould - Constant's Star-throat Hummingbid

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Monograph of the Trochilidae, or Family of Hummingbirds published in London between 1849 and 1887. Family of Hummingbirds undoubtedly featured some of Gould’s most desired plates. Of particular note was the use of gold and silver leaf to create the appearance of the natural iridescence of the hummingbird’s feathers. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. "There is no one appreciative of the beauties of nature who will not recall... with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye.... The beautiful nests of humming-birds... will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs" (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north. The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61920 - Gould - Chestnut-Tailed Lobed Pheasant (Lobiophasis Castaneicaudatus)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Birds of Asia published in London between 1850 and 1883. Birds of Asia featured some of the most vibrant varieties of birds to be found around the world due to the wide reaching natural fauna of the expansive geographical region. The work took thirty-four years to complete and is considered one of Gould’s greatest accomplishments. Trogons, Kingfishers, Sunbirds, Woodpeckers, Pheasants, and Parrots are all featured in the bountiful work. The backgrounds should also be given particular note, as it was clear Gould was especially drawn to the natural flora and delineated the bird’s surroundings with great detail. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61921 - Gould, Australia - Yellow-billed Albatros

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61922 - Gould, Australia - Blue Reef Heron

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61923 - Gould, Australia - Great Bower Bird

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61924 - Gould, Australia - Crested Hawk

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61925 - Gould, Australia - Boobook Owl

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61926 - Gould, Australia - White Goshawk

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 61927 - Gould - Celebean Pitta (Pitta Celebensis)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s The Birds of New Guinea and the Adjacent Papuan Islands. The work was published in London between 1875-1888. The Birds of New Guinea was Gould's last great work. Only 250 sets were published making it one of his most rare works. Richard Bowdler Sharpe completed the work after Gould's death. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates.

Lot: 61928 - Gould - New-Ireland Fruit-Pigeon (Carpophaga rubricera)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s The Birds of New Guinea and the Adjacent Papuan Islands. The work was published in London between 1875-1888. The Birds of New Guinea was Gould's last great work. Only 250 sets were published making it one of his most rare works. Richard Bowdler Sharpe completed the work after Gould's death. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates.

Lot: 61929 - Gould - Large-frilled Bower-Bird (Chlamydera Occipitalis)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s The Birds of New Guinea and the Adjacent Papuan Islands. The work was published in London between 1875-1888. The Birds of New Guinea was Gould's last great work. Only 250 sets were published making it one of his most rare works. Richard Bowdler Sharpe completed the work after Gould's death. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates.

Lot: 61930 - Gould - Gardener Bower-Bird (Amblyornis Inornata)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s The Birds of New Guinea and the Adjacent Papuan Islands. The work was published in London between 1875-1888. The Birds of New Guinea was Gould's last great work. Only 250 sets were published making it one of his most rare works. Richard Bowdler Sharpe completed the work after Gould's death. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates.

Lot: 61931 - Gould - Ural Owl (Surnia Uralensis)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s The Birds of Europe. The work was published in London between 1832 and 1837. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. The majority of this work is believed to have been drawn and lithographed by Elizabeth Gould. It was also the first time Gould employed the masterful Edward Lear. "There is no doubt that Edward Lear was the first person to understand the art of lithography, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Tree). Of Lear's lithographs: "they are certainly among the most remarkable bird drawings ever made, … it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)

Lot: 61932 - Lear & Gould - Sea Eagle (Haliaetus albicilla)

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s The Birds of Europe. The work was published in London between 1832 and 1837. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. The majority of this work is believed to have been drawn and lithographed by Elizabeth Gould. It was also the first time Gould employed the masterful Edward Lear. "There is no doubt that Edward Lear was the first person to understand the art of lithography, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Tree). Of Lear's lithographs: "they are certainly among the most remarkable bird drawings ever made, … it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)

Lot: 61933 - Catesby, Folio - Goldcrest & Ichneumon Wasp with Stewartia. Sup-13

We are pleased to offer this folio engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French. This third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. The woven paper was ideal for the printing of the engraved plates as the smooth surface takes an impression much more correctly than the earlier paper, where the chain lines produce slight corrugations in the paper surface. The original hand-coloring for each engraving is superb. Mark Catesby's Natural History of Carolina, Florida and the Bahama Islands was the first natural history of American flora and fauna. It is noted as 'THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species' (Hunt). 'Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY' (Jackson). Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. Natural History was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species.

Lot: 61934 - Catesby, Folio - Large Lark (Meadow Lark). 1-33

We are pleased to offer this folio engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French. This third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. The woven paper was ideal for the printing of the engraved plates as the smooth surface takes an impression much more correctly than the earlier paper, where the chain lines produce slight corrugations in the paper surface. The original hand-coloring for each engraving is superb. Mark Catesby's Natural History of Carolina, Florida and the Bahama Islands was the first natural history of American flora and fauna. It is noted as 'THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species' (Hunt). 'Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY' (Jackson). Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. Natural History was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species.

Lot: 61935 - Catesby, Folio - Bald Eagle or White-headed Eagle. 1-1

We are pleased to offer this folio engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French. This third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. The woven paper was ideal for the printing of the engraved plates as the smooth surface takes an impression much more correctly than the earlier paper, where the chain lines produce slight corrugations in the paper surface. The original hand-coloring for each engraving is superb. Mark Catesby's Natural History of Carolina, Florida and the Bahama Islands was the first natural history of American flora and fauna. It is noted as 'THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species' (Hunt). 'Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY' (Jackson). Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. Natural History was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species.

Lot: 61936 - Catesby, Folio - Green Gar Fish. 2-30

We are pleased to offer this folio engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French. This third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. The woven paper was ideal for the printing of the engraved plates as the smooth surface takes an impression much more correctly than the earlier paper, where the chain lines produce slight corrugations in the paper surface. The original hand-coloring for each engraving is superb. Mark Catesby's Natural History of Carolina, Florida and the Bahama Islands was the first natural history of American flora and fauna. It is noted as 'THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species' (Hunt). 'Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY' (Jackson). Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. Natural History was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species.

Lot: 61937 - Catesby, Folio - Porgy. 2-16

We are pleased to offer this folio engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French. This third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. The woven paper was ideal for the printing of the engraved plates as the smooth surface takes an impression much more correctly than the earlier paper, where the chain lines produce slight corrugations in the paper surface. The original hand-coloring for each engraving is superb. Mark Catesby's Natural History of Carolina, Florida and the Bahama Islands was the first natural history of American flora and fauna. It is noted as 'THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species' (Hunt). 'Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY' (Jackson). Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. Natural History was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species.

Lot: 61938 - Catesby, Folio - Mangrove Snapper. 2-9

We are pleased to offer this folio engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French. This third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. The woven paper was ideal for the printing of the engraved plates as the smooth surface takes an impression much more correctly than the earlier paper, where the chain lines produce slight corrugations in the paper surface. The original hand-coloring for each engraving is superb. Mark Catesby's Natural History of Carolina, Florida and the Bahama Islands was the first natural history of American flora and fauna. It is noted as 'THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species' (Hunt). 'Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY' (Jackson). Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. Natural History was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species.

Lot: 61939 - Brasher - Yellowhead Blackbird. 497

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. 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: 61940 - Brasher - Gray Gyrfalcon. 354

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. 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: 61941 - Brasher - Piedbill Grebe. 6

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. 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: 61942 - Brasher - Great White Heron. 192

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. 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: 61943 - Thornton - Cupid inspiring Plants with Love

This strong quarto botanical plate is from Dr. Robert Thornton’s The Temple of Flora. The plate was published by Thornton as part of the 1812 Lottery edition. The Temple of Flora, both the folio and Lottery editions, are considered to be one of the most extraordinary botanical works. The publishing of the folio edition of this work bankrupted Dr. Thornton, and thus led him to creating the Great Botanical Lottery and the plates from the edition seen here. The Lottery was unfortunately not a success and Thornton could not continue further publication of the work. Though the work did not have financial success in its time, it remains one of the greatest botanical works ever published. Each plate was created using several printing processes including mezzotint, aquatint, engraving, etching, and stipple. The plates were printed in color and then finished by hand at the time of printing. 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: 61944 - Thornton, Folio - The Winged Passion-Flower

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: 61945 - Blainville's Mémoire sur le Dodo - Volume with 4 Lithographs & Treatise on the Dodo Bird

This fascinating, rare French treatise on the Dodo Bird is Henri Marie Ducrotay de Blainville's Mémoire sur le Dodo, Autrement Dronte; Nouvelles Annales du Muséum D'Histoire Naturelle, ou Recueil de Mémoires. Publies par les Professeurs de cet Établissement et par D'Autres Naturalistes sur L'Histoire Naturelle, L'Anatomie, et la Chimie. The work was published in Paris by Roret in 1835. There are four lithographed plates (one featuring hand-coloring) and 36 pages. It is bound to style in half calf over marble paper boards, spine gilt. Henri Marie Ducrotay de Blainville (1777-1850) was an influential French zoologist and anatomist. He was a contemporary of Cuvier and Lamarck. Blainville wrote his treatise on the Dodo to attempt to fit it into a larger family within the Linnean system. He argued (incorrectly) that it was a flightless relative of the vulture. His research benefited from access to well-preserved specimens in English collections at Oxford and the British Museum.

Lot: 61946 - Audubon, Imperial Folio - Black Footed Ferret. 93

This exceptional folio lithograph is from John James Audubon's The Viviparous Quadrupeds of North America. It was part of the Imperial Folio Edition published between 1845 and 1851. The color on this set is exceptional, and the condition of the plates remarkably fresh. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints. The print is a stone lithograph which features original hand-coloring completed by noted printer James T. Bowen of Philadelphia. Great care was taken in the lithography and hand-coloring of the print to give the animal fur a truly realistic appearance. Audubon worked on the quadrupeds for fifteen years and studied the animals in their natural habitats and collected skins. It was the first work of this size done on American quadrupeds and a landmark for natural science in America. Audubon detailed many frontier animals for the first time, and the work helped spark public interest in the natural flora and fauna of America. When he undertook the research for this publication, he wrote his collaborator Rev. James Bachman "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed! Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." (Streshinsky, Audubon, p. 332) Quadrupeds would be his last major work and expedition. He completed half of the drawings before his health began to deteriorate, but it was a true collaboration with his son, JOhn Woodhouse Audubon. John James Audubon served as "...the genius and guiding hand. Audubon was the person who conceived the projects and had the enthusiasm and determination to see them through. He was the artist, the author, the designer, and, when the time came, the salesman. As the success of the 'little work' grew, Audubon’s dominant role in the process became more apparent." (Ron Tyler) Provenance: George W. Turner (supralibros; signatures dated 1853 to pastedowns of text volumes)

Lot: 61947 - Audubon, Imperial Folio - Bridled Weasel. 60

This exceptional folio lithograph is from John James Audubon's The Viviparous Quadrupeds of North America. It was part of the Imperial Folio Edition published between 1845 and 1851. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints. The print is a stone lithograph which features original hand-coloring completed by noted printer James T. Bowen of Philadelphia. Great care was taken in the lithography and hand-coloring of the print to give the animal fur a truly realistic appearance. Audubon worked on the quadrupeds for fifteen years and studied the animals in their natural habitats and collected skins. It was the first work of this size done on American quadrupeds and a landmark for natural science in America. Audubon detailed many frontier animals for the first time, and the work helped spark public interest in the natural flora and fauna of America. When he undertook the research for this publication, he wrote his collaborator Rev. James Bachman "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed! Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." (Streshinsky, Audubon, p. 332) Quadrupeds would be his last major work and expedition. He completed half of the drawings before his health began to deteriorate, but it was a true collaboration with his son, John Woodhouse Audubon. John James Audubon served as "...the genius and guiding hand. Audubon was the person who conceived the projects and had the enthusiasm and determination to see them through. He was the artist, the author, the designer, and, when the time came, the salesman. As the success of the 'little work' grew, Audubon’s dominant role in the process became more apparent." (Ron Tyler) Provenance: Stamp to title reads Gardner A. Sage Library, Theological Seminary, New Brunswick, New Jersey

Lot: 61948 - Audubon, Imperial Folio - American Black Bear. 141

This exceptional folio lithograph is from John James Audubon's The Viviparous Quadrupeds of North America. It was part of the Imperial Folio Edition published between 1845 and 1851. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints. The print is a stone lithograph which features original hand-coloring completed by noted printer James T. Bowen of Philadelphia. Great care was taken in the lithography and hand-coloring of the print to give the animal fur a truly realistic appearance. Audubon worked on the quadrupeds for fifteen years and studied the animals in their natural habitats and collected skins. It was the first work of this size done on American quadrupeds and a landmark for natural science in America. Audubon detailed many frontier animals for the first time, and the work helped spark public interest in the natural flora and fauna of America. When he undertook the research for this publication, he wrote his collaborator Rev. James Bachman "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed! Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." (Streshinsky, Audubon, p. 332) Quadrupeds would be his last major work and expedition. He completed half of the drawings before his health began to deteriorate, but it was a true collaboration with his son, John Woodhouse Audubon. John James Audubon served as "...the genius and guiding hand. Audubon was the person who conceived the projects and had the enthusiasm and determination to see them through. He was the artist, the author, the designer, and, when the time came, the salesman. As the success of the 'little work' grew, Audubon’s dominant role in the process became more apparent." (Ron Tyler) Provenance: Stamp to title reads Gardner A. Sage Library, Theological Seminary, New Brunswick, New Jersey

Lot: 61949 - Brown - Bald Eagle & Silhouette (Frontispiece) with Printed Letter from Washington

This silhoutted portrait is from William Henry Brown's Portrait Gallery of Distinguished American Citizens, with biographical sketches. The work was published in Hartford in 1845. Most of the lithographed portraits will come with the accompanying facsimile letters from the historic figure depicted. Each of the lithographs are based on original sketches made from life by Brown.

Lot: 61950 - Brown - Silhoutte Portrait of Daniel Webster

This silhoutted portrait is from William Henry Brown's Portrait Gallery of Distinguished American Citizens, with biographical sketches. The work was published in Hartford in 1845. Most of the lithographed portraits will come with the accompanying facsimile letters from the historic figure depicted. Each of the lithographs are based on original sketches made from life by Brown.

Lot: 61951 - Brown - Silhoutte Portrait of Henry Clay

This silhoutted portrait is from William Henry Brown's Portrait Gallery of Distinguished American Citizens, with biographical sketches. The work was published in Hartford in 1845. Most of the lithographed portraits will come with the accompanying facsimile letters from the historic figure depicted. Each of the lithographs are based on original sketches made from life by Brown.

Lot: 61952 - Brown - Silhoutte Portrait of John Quincy Adams

This silhoutted portrait is from William Henry Brown's Portrait Gallery of Distinguished American Citizens, with biographical sketches. The work was published in Hartford in 1845. Most of the lithographed portraits will come with the accompanying facsimile letters from the historic figure depicted. Each of the lithographs are based on original sketches made from life by Brown.

Lot: 61953 - Choris - Iles Radak or Marshall Islands

This originally hand-colored lithograph is from Louis Choris's Vues et Paysages des Régions Equinoxiales, recueillis dans un voyage autour du Monde...avec une introduction et un texte explicatif. The work was published in Paris in 1826 by Paul Renouard. The lithographs for the work were completed by F. Noel and F. Bové after Choris's original illustrations. The work featured views of Hawaii, the Philippines, Tenerife, Brazil, Easter Island, the then-newly discovered island of Romanzov with its spectacular coral reefs, Kamchatka, the Cape of Good Hope, and Saint Helena. "Choris's drawings are original and faithful pictorial representations of the subjects he drew." (Lada-Mocarski) "In July 1815 Choris, at the age of 20, joined Otto von Kotzebue's expedition on the Rurik as the official artist. This was the first Russian circumnavigation devoted exclusively to scientific purposes and several well-known scientists contributed greatly to its success. Choris made a great many drawings during this voyage. In 1822 he published Voyage Pittoresque autour du monde." (Lada-Mocarski)

Lot: 61954 - Choris - Hawaii or Sandwich Islands: Otto von Kotzebue & King Tammeamea Meeting

This originally hand-colored lithograph is from Louis Choris's Vues et Paysages des Régions Equinoxiales, recueillis dans un voyage autour du Monde...avec une introduction et un texte explicatif. The work was published in Paris in 1826 by Paul Renouard. The lithographs for the work were completed by F. Noel and F. Bové after Choris's original illustrations. The work featured views of Hawaii, the Philippines, Tenerife, Brazil, Easter Island, the then-newly discovered island of Romanzov with its spectacular coral reefs, Kamchatka, the Cape of Good Hope, and Saint Helena. "Choris's drawings are original and faithful pictorial representations of the subjects he drew." (Lada-Mocarski) "In July 1815 Choris, at the age of 20, joined Otto von Kotzebue's expedition on the Rurik as the official artist. This was the first Russian circumnavigation devoted exclusively to scientific purposes and several well-known scientists contributed greatly to its success. Choris made a great many drawings during this voyage. In 1822 he published Voyage Pittoresque autour du monde." (Lada-Mocarski)

Lot: 61955 - Webber & Cook, Rare - View in Macao, Including the Residence of Camoens, when he wrote his Lusiad

This exquisite folio, aquatint engraving with original hand-coloring is after John Webber's original paintings from Captain James Cook's third voyage in Views in the South Seas: From Drawings by the Late James Webber, Draftsman on Board the Resolution, Captain James Cooke, from the Year 1776 to 1780. The work was published in London by Boydell & Co in 1808. The watermark on the paper is dated

Lot: 61956 - Webber & Cook, Rare - The Narta, or Sledge for Burdens in Kamtschatka

This exquisite folio, aquatint engraving with original hand-coloring is after John Webber's original paintings from Captain James Cook's third voyage in Views in the South Seas: From Drawings by the Late James Webber, Draftsman on Board the Resolution, Captain James Cooke, from the Year 1776 to 1780. The work was published in London by Boydell & Co in 1808. The watermark on the paper is dated

Lot: 61957 - Blaeu's Tooneel des Aerdrycx - Fifth Volume with 55 Engraved Maps

This remarkable fifth volume of 55 maps with original hand-coloring is is Jan & Willem Blaeu's Tooneel des Aerdrycx, oft Nieuwe Atlas … Vyfde Deel or Theatrum Orbis Terrarum, Dutch edition. This was published in Amsterdam by Blaeu in 1654. The work is bound in contemporary morocco, spine gilt in compartments, gilt panels incorpoorating arabesque cornerpieces and central lozenges to sides, all edges gilt. There is a decorative frontispiece with the arms of Scotland and 55 engraved maps with original hand-coloring (all but one is double-page). The maps were titled in Latin and English. The work features maps dedicated to Scottish and Irish lands. It was the first printed atlas of Scotland (Skelton). The maps of Scotland are after Robert & James Gordon of Straloch. The maps of Ireland are after Mercator and Jansson. The Blaeus's atlases had extremely high production standards. The quality of the engraving, the paper, and colouring are of the highest quality. The maps are embellished in the Baroque style. Willem Janszoon Blaeu (1571-1638), Jan's father, founded the famous Blaeu cartographic firm in Amsterdam. He studied astronomy and science under Tycho Brahe. He established a globe and instrument making business in 1599 which soon expanded into cartography publishing. It became one of the most important publishing firms in the world that was also later run by his sons Cornelis and Jan (1596-1673). Their maps are noted for their fine engraving process, coloring, and design and are often referred to as "the highest expression of Dutch cartographical art."

Lot: 61958 - Karl Bodmer - Indian Utensils And Arms. 48

This rare aquatint engraving is from Karl Bodmer's Travels in the Interior of North America or Voyage Dans l’Intérieur De l’Amérique Du Nord Executé Pendant les Années 1832, 1833 et 1834. The work was published in Paris, Coblentz and London between 1839 and 1842. It has the blind stamp. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.

Lot: 61959 - Karl Bodmer - View of the Rocky Mountains. 44

This rare aquatint engraving is from Karl Bodmer's Travels in the Interior of North America or Voyage Dans l’Intérieur De l’Amérique Du Nord Executé Pendant les Années 1832, 1833 et 1834. The work was published in Paris, Coblentz and London between 1839 and 1842. It has the blind stamp. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.

Lot: 61960 - Karl Bodmer - Sih-Chida & Mahchsi-Karehde, Mandan Indians. 20

This rare aquatint engraving is from Karl Bodmer's Travels in the Interior of North America or Voyage Dans l’Intérieur De l’Amérique Du Nord Executé Pendant les Années 1832, 1833 et 1834. The work was published in Paris, Coblentz and London between 1839 and 1842. It has the blind stamp. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.

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