Antique Prints, Maps, & Books of Natural

Lot: 68601 - Kohler & Weigel - Map of Sicily and Sardinia

This originally hand-colored engraving is from Johnn David Kohler's Schul- und Reisen-Atlas aller zu Erlernung der alten, mittlern und neuen Geographie dienlichen Universal- und Particular-Charten... Nebst einer im Druck beygefügten kurtzen geographischen Anleitung und etlichen heraldischen Charten, welche die Wappen aller Königreiche und Länder... or School and Travel Atlas... The work was published in Nuremberg by J. E. Adelbulner for C. Weigel in 1719 [but after 1734]. This is considered the enlarged edition of Christoph Weigel's atlas that was first printed in 1718, this published likely for Weigel's widow and heirs. "In 1718, the first atlas was published, with a dated title page, which was then published by Johann David Köhler after Faber's death. The title page of the 'Comfortable School and Travel Atlas, as the new title of the work from now on is, particularly emphasizes 'the new special way' in which the maps are now illuminated, a fact that Hauber had also pointed out regarding this coloring, Köhler had preceded the atlas with a typographically printed plate on which he, after a short introduction to geography, the illumination of the first five universal maps, which he systematically developed - these are the world map and the maps of Europe, Asia, Africa and America - was explained here in addition to the marking of the political boundaries Territories and the coloring of their surfaces with the same but more diluted color, information about the religion of the population of the respective area was provided through colored dots." (Bauer Sp. 954)

Lot: 68602 - Duval - Map of the Retreat of The Ten Thousand (Greek, Myrioi) [Turkey]

This fascinating map is from Pierre Duval. It was part of a composite or collector's atlas of his maps. It was done in Paris circa 1670s. The composite atlas originally included maps from the following works: Les acquisitions de la France, Les Cartes des provinces eschûës a la Reine, Cartes … pour bien entendre les historiens, Les XII provinces, La géographie Françoise, Le monde ou la géographie universelle, Le monde chrestien Pierre Duval (1618-1683) was a French geographer. He was the nephew and pupil of the geographer Nicolas Sanson. He later became Geographe Ordinaire du Roy to King Louis XIV.

Lot: 68603 - Harris - 3 Engravings of Animals

This fascinating engraving is from John Harris's Navigantium atque Itinerantium Bibliotheca. Or, a Complete Collection of Voyages and Travels... The maps included in this work were mostly completed by Emanuel Bowen. This is the second edition of the work was published in London for T. Woodward between 1744 and 1748. "A collection of all known voyages ... [Navigantium atque itinerantium bibliotheca] is valuable for the original impressions of the fine series of maps by Herman Moll, including a very good one of America. Also there is one of the world according to Mercator's projection, with improvements, showing the northern coast line and part of the west and south coasts of Australia together with parts of Tasmania and New Zealand. Among voyages included are those of Magellan, Drake, Cavendish, Schouten, Hawkins, Narbrough, and Dampier." (Hill)

Lot: 68604 - Harris - Pair of Maps of China & Russia

Included in this lot: A New & Accurate Map of China A New & Accurate Map of the Whole Russian Empire as contain'd both in Europe and Asia Description of the work: This fascinating engraving is from John Harris's Navigantium atque Itinerantium Bibliotheca. Or, a Complete Collection of Voyages and Travels... The maps included in this work were mostly completed by Emanuel Bowen. This is the second edition of the work was published in London for T. Woodward between 1744 and 1748. "A collection of all known voyages ... [Navigantium atque itinerantium bibliotheca] is valuable for the original impressions of the fine series of maps by Herman Moll, including a very good one of America. Also there is one of the world according to Mercator's projection, with improvements, showing the northern coast line and part of the west and south coasts of Australia together with parts of Tasmania and New Zealand. Among voyages included are those of Magellan, Drake, Cavendish, Schouten, Hawkins, Narbrough, and Dampier." (Hill)

Lot: 68605 - Harris - An Accurate Chart of the Mediterranean and Adriatic Seas

This fascinating engraving is from John Harris's Navigantium atque Itinerantium Bibliotheca. Or, a Complete Collection of Voyages and Travels... The maps included in this work were mostly completed by Emanuel Bowen. This is the second edition of the work was published in London for T. Woodward between 1744 and 1748. "A collection of all known voyages ... [Navigantium atque itinerantium bibliotheca] is valuable for the original impressions of the fine series of maps by Herman Moll, including a very good one of America. Also there is one of the world according to Mercator's projection, with improvements, showing the northern coast line and part of the west and south coasts of Australia together with parts of Tasmania and New Zealand. Among voyages included are those of Magellan, Drake, Cavendish, Schouten, Hawkins, Narbrough, and Dampier." (Hill)

Lot: 68606 - Pacific Railroad Survey - 4 Lithographs of Scenes of Western America or Early Native American Life

This historic lithograph is from Reports of Explorations and Surveys, to Ascertain the Most Practicable and Economical Route for a Railroad from the Mississippi River to the Pacific Ocean... The work was published between 1855 and 1860 in Washington by Beverley Tucker, Thomas F. Ford, and A.O.P. Nicholson. The work came about as part of the Pacific Railroad Surveys conducted under the direction of the Secretary of War, Jefferson Davis. The Surveys were conducted to explore the American West and document possible routes for trancontinental North American railroads. Surveyors, scientists, and artist partook in the journeys and gathered information that covered 400,000 square miles. The publication was "... probably the most important single contemporary source of knowledge on Western geography and history and their value is greatly enhanced by the inclusion of many beautiful plates in color of scenery, native inhabitants, fauna and flora of the Western country." (Robert Taft, Artists and Illustrators of the Old West, p. 5) The Reports "... contain[ed] a monumental collection of scientific information, geographical, zoological, botanical, geological of the still mysterious American West. Upon first examination, the volumes seem forbiddingly disorganized, however these faults are amply compensated by the richness of material within." (Wagner-Camp 262)

Lot: 68607 - Gottfried - The Spanish Conquest of the Inca Empire

This historic engraving is from Johann Ludwig Gottfried's Newe Welt und Americanische Historien. Inhaltende Warhafftige und vollkommene Beschreibungen Aller West-Indianischen Landschafften, Insulen, Königreichen und Provintzien, Seecusten etc. This is from the second edition of the handsomely illustrated travel work. The work was published in Frankfurt by Matthaeus Merian in 1655. It was an important work documenting the early exploration, conquest, and colonization of the New World which heavily influenced European perception of America. Johann Ludwig Gottfried was a German publisher. He inherited Theodor De Bry's firm, and subsequently issued the work shown here after De Bry's Grands Voyages. De Bry had received the paintings and records from both the French and English expeditions to settle colonies in America in the late 16th century. The illustrators from the expeditions were Jacques Le Moynes de Morgues and John White. De Bry transferred these images to copper plates from which Gottfried constructed the present work. He also included illustrations from other European artists based on textual descriptions (thus the images of mermaids or dragons). Merian also added or re-engraved some of the plates that had become too worn. Gottfried handled the editing and translation. Borba de Moraes noted of the work "It is obvious that the Newe Welt is an important and magnificent work. It is greatly sought after, expensive and rare." Michiel van Groesen noted in America Abridged... it could be "Considered the apotheosis of the collection of voyages to the New World.”

Lot: 68608 - De Bry - 3 Engravings of early Florida

Included in this lot: Florida - The French select a location for building a fort Leaving. the May River, the French discover two other rivers (Sea Monster) The French reach Port Royal Description of the work: This significant, historic engraving is from Theodor de Bry & Jacques Le Moyne's Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. The work was published in Frankfurt by Theodor de Bry. The work began publishing in 1590 with this volume printed 1609. This is from one of the most important volumes published on early North America. It included Jacques Le Moyne de Morgues's illustrations of Native Americans. The work described the earliest French settlements that would become the United States. The illustrations were after watercolors drawn first hand in the New World by Le Moyne on the mid-1560s expedition led by Jean Ribault and René Goulaine de Laudonnière. His illustrations of the Florida Indians are some of the most important visual records of American Indians and their culture before the 19th century. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 68609 - De Bry - Florida - Six other rivers discovered by the French

This significant, historic engraving is from Theodor de Bry & Jacques Le Moyne's Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. The work was published in Frankfurt by Theodor de Bry. The work began publishing in 1590 with this volume printed 1609. This is from one of the most important volumes published on early North America. It included Jacques Le Moyne de Morgues's illustrations of Native Americans. The work described the earliest French settlements that would become the United States. The illustrations were after watercolors drawn first hand in the New World by Le Moyne on the mid-1560s expedition led by Jean Ribault and René Goulaine de Laudonnière. His illustrations of the Florida Indians are some of the most important visual records of American Indians and their culture before the 19th century. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 68610 - Kollner, Rare - Laure-hill Cemetery (Philadelphia, Pennsylvania). 10

This remarkable early American lithograph is from the scarce work by Augustus Kollner's Views of American Cities. The work was published in by Goupil, Vibert, & Co. of New York & Paris between 1848 and 1851. The lithograph was completed by Isidore-Laurent Deroy and printed in Paris by Cattier. This is a high quality lithograph with the blind stamp is present. Augustus Theodore Frederick Adam Kollner (1812-1906) was a German-born artist, engraver, and lithographer. He worked in Stuttgart, Germany and Paris, France before emigrating to the United States in 1839. He continued his work drawing American scenery, where Goupil, Vibert, & Co. decided to publish a series of his views. "Popularly known for his illustrations for many volumes published by the American Sunday School Union, Kollner also undertook a major print series, Views of American Cities, published un New York and Paris by Goupil, Vibert and Company between 1848 and 1851." (Deák 494)

Lot: 68611 - Milbert - Falls of Mount Ida, above the town of Troy [New York]. 15

This scarce and historic folio lithograph is from Jacques-Gerard Milbert's Itineraire pittoresque du fleuve Hudson et des parties laterales. The work was published in Paris by Henri Gaugain between 1828 and 1829. The work illustrated and recorded scenes of New York including the Hudson River, New York City, West Point, Albany, Troy, Saratoga Springs, and Niagara Falls. It also included depictions of Massachusetts, Maryland, New Jersey, Pennsylvania, Rhode Island, and Virginia. The lithograph available is from the first edition of the work and are on india paper, mounted. Jacques-Gerard Milbert (1766-1840) was a French naturalist, artist, geographer, and engineer. He spent eight years in the United States exploring and sketching the country, flora, and fauna. He sent back near 8000 specimens to the Museum of Natural History in Paris. "As an artist, Milbert loved to paint American landscapes, particularly those which showed the Hudson, 'King of Rivers,' flowing majestically through the mountains ... boundless curiosity, plus a contagious enthusiasm and a delightful sense of humor, make the journal as lively a document today as when it was penned a hundred and forty years ago. The pictures of what he saw, as of the time he drew them, constitute a unique and valuable record." (Sherman) "Milbert sailed from Havre on the 1st of September, 1815, and arrived in New York on the 20th of the following October. He settled in New York, where his first work was the making of several drawings of the mechanism of steamboats. He soon, however, turned to portrait-painting, and taught drawing. Milbert was later attached to the commission in charge of the leveling preparatory to the establishment of the Champlain Canal. In this connection he made a journey in one of the large steamers plying upon the Hudson. It was on this voyage that he collected much of the material for his Itinéraire Pittoresque. "A few years after his arrival in New York he was charged by M. Hyde de Neuville, the French Minister, with the preparation of certain collections of natural history specimens, destined for the King's Garden in Paris. In his report on this collection, which is printed in full in his Itinéraire Pittoresque, he styles himself 'Voyageur, Naturaliste du Gouvernement et Correspondant du Museum d'Histoire Naturelle au Jardin du Roi.' It was through Milbert's efforts that the first living specimen of the American buffalo was introduced into France." (Stokes Iconography of New York)

Lot: 68612 - Milbert - Falls of Cohoes, of the River Mohawk [New York]. 16

This scarce and historic folio lithograph is from Jacques-Gerard Milbert's Itineraire pittoresque du fleuve Hudson et des parties laterales. The work was published in Paris by Henri Gaugain between 1828 and 1829. The work illustrated and recorded scenes of New York including the Hudson River, New York City, West Point, Albany, Troy, Saratoga Springs, and Niagara Falls. It also included depictions of Massachusetts, Maryland, New Jersey, Pennsylvania, Rhode Island, and Virginia. The lithograph available is from the first edition of the work and are on india paper, mounted. Jacques-Gerard Milbert (1766-1840) was a French naturalist, artist, geographer, and engineer. He spent eight years in the United States exploring and sketching the country, flora, and fauna. He sent back near 8000 specimens to the Museum of Natural History in Paris. "As an artist, Milbert loved to paint American landscapes, particularly those which showed the Hudson, 'King of Rivers,' flowing majestically through the mountains ... boundless curiosity, plus a contagious enthusiasm and a delightful sense of humor, make the journal as lively a document today as when it was penned a hundred and forty years ago. The pictures of what he saw, as of the time he drew them, constitute a unique and valuable record." (Sherman) "Milbert sailed from Havre on the 1st of September, 1815, and arrived in New York on the 20th of the following October. He settled in New York, where his first work was the making of several drawings of the mechanism of steamboats. He soon, however, turned to portrait-painting, and taught drawing. Milbert was later attached to the commission in charge of the leveling preparatory to the establishment of the Champlain Canal. In this connection he made a journey in one of the large steamers plying upon the Hudson. It was on this voyage that he collected much of the material for his Itinéraire Pittoresque. "A few years after his arrival in New York he was charged by M. Hyde de Neuville, the French Minister, with the preparation of certain collections of natural history specimens, destined for the King's Garden in Paris. In his report on this collection, which is printed in full in his Itinéraire Pittoresque, he styles himself 'Voyageur, Naturaliste du Gouvernement et Correspondant du Museum d'Histoire Naturelle au Jardin du Roi.' It was through Milbert's efforts that the first living specimen of the American buffalo was introduced into France." (Stokes Iconography of New York)

Lot: 68613 - David Roberts - Remains of the Portico of the Temple of Kom Ombo

David Roberts' most famous work, Views in the Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, was published by E. G. Moon in London between 1846 and 1849. This work is known for its extremely detailed 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: 68614 - David Roberts - Dendera

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: 68615 - David Roberts - View Under the Grand Portico, Philae

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: 68616 - Hamilton & Fabris - View of an eruption of Mount Vesuvius which began the 23rd of December 1760. 12

This sensational engraving is from William Hamilton's Campi Phlegraei, ou Observations sur les Volcans des Deux Siciles. [Phlegraean Fields, or Observations on the Volcanoes of the Two Sicilies]. It is from the second or De Luxe edition of the work published between 1798 and 1802 in Paris by Chez Lamy, Libraire, Quai des Augustins. The work detailed erupting volcanoes as well as volcanic rocks

Lot: 68617 - Hamilton & Fabris - Interior View of the Crater of Mount Vesuvius, as it was before the great eruption of 1767. 9

This sensational engraving is from William Hamilton's Campi Phlegraei, ou Observations sur les Volcans des Deux Siciles. [Phlegraean Fields, or Observations on the Volcanoes of the Two Sicilies]. It is from the second or De Luxe edition of the work published between 1798 and 1802 in Paris by Chez Lamy, Libraire, Quai des Augustins. The work detailed erupting volcanoes as well as volcanic rocks

Lot: 68618 - Kircher, pub. 1641 - 6 Engravings of Magnetism Charts or Diagrams

This scientific engraving is from Athanasius Kircher's Magnes Sive De Arte Magnetica Opus Tripartitum The work was published in Cologne in 1641 by Jodocus Kalcoven. The work was an excellent study of magnetism. Kircher explored various applications including time measurement, medicine, music, and love. Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents. Provenance: Hussey Family armorial bookplate from front pastedown.

Lot: 68619 - Kircher, pub. 1682 - Diagram of Human Form charting Magnetism and the Cosmos

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen; in XII boeken nauwkeurig beschreven. Vervat in II Deelen. Waar van dit eerste handeld van het Wiskundig Werkstuk des Aardkloots in 't Heel-al. (...) het tweede deel; Daar in de wonderbare kracht der Werksame Natuur in de Voortbrenging der menigerlei Schepselen, en der selver gedurige Op en Ondergang (...) de waare en valsche Goudsoekerye (...) de nuttigheid der Destilleerkunde en veel vermogende Stofscheidinge, Glasblasen en allerhande Konst en Handgrepen.... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 68620 - Kircher, pub. 1682 - Map of South America (Hydrological and Subterranean markings)

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen; in XII boeken nauwkeurig beschreven. Vervat in II Deelen. Waar van dit eerste handeld van het Wiskundig Werkstuk des Aardkloots in 't Heel-al. (...) het tweede deel; Daar in de wonderbare kracht der Werksame Natuur in de Voortbrenging der menigerlei Schepselen, en der selver gedurige Op en Ondergang (...) de waare en valsche Goudsoekerye (...) de nuttigheid der Destilleerkunde en veel vermogende Stofscheidinge, Glasblasen en allerhande Konst en Handgrepen.... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 68621 - Kircher, pub. 1682 - Map of the Americas (Hydrological and Subterranean markings)

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen; in XII boeken nauwkeurig beschreven. Vervat in II Deelen. Waar van dit eerste handeld van het Wiskundig Werkstuk des Aardkloots in 't Heel-al. (...) het tweede deel; Daar in de wonderbare kracht der Werksame Natuur in de Voortbrenging der menigerlei Schepselen, en der selver gedurige Op en Ondergang (...) de waare en valsche Goudsoekerye (...) de nuttigheid der Destilleerkunde en veel vermogende Stofscheidinge, Glasblasen en allerhande Konst en Handgrepen.... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 68622 - Tirion - Map of India

This originally hand-colored map is from Isaac Tirion's Nieuwe en beknopte Hand-Atlas, bestaande in eene Verzameling van eenige der algemeenste en noodigste Landkaarten. The work was published in Amsterdam by Tirion between 1759 and 1784 (though printed title reads 1744). Isaak Tirion (1705-1765) was a Dutch publisher. His maps often used the cartography of De L'Isle for reference. Tirion "was more of a bookseller and publisher than a geographer or cartographer. But he must have done very well by the cartographer under his employ as his maps excel in style and exactness..." (Koeman p. 126)

Lot: 68623 - Tirion - Map of Africa

This originally hand-colored map is from Isaac Tirion's Nieuwe en beknopte Hand-Atlas, bestaande in eene Verzameling van eenige der algemeenste en noodigste Landkaarten. The work was published in Amsterdam by Tirion between 1759 and 1784 (though printed title reads 1744). Isaak Tirion (1705-1765) was a Dutch publisher. His maps often used the cartography of De L'Isle for reference. Tirion "was more of a bookseller and publisher than a geographer or cartographer. But he must have done very well by the cartographer under his employ as his maps excel in style and exactness..." (Koeman p. 126)

Lot: 68624 - Tirion - Map of South America

This originally hand-colored map is from Isaac Tirion's Nieuwe en beknopte Hand-Atlas, bestaande in eene Verzameling van eenige der algemeenste en noodigste Landkaarten. The work was published in Amsterdam by Tirion between 1759 and 1784 (though printed title reads 1744). Isaak Tirion (1705-1765) was a Dutch publisher. His maps often used the cartography of De L'Isle for reference. Tirion "was more of a bookseller and publisher than a geographer or cartographer. But he must have done very well by the cartographer under his employ as his maps excel in style and exactness..." (Koeman p. 126)

Lot: 68625 - Tirion - Map of the Americas

This originally hand-colored map is from Isaac Tirion's Nieuwe en beknopte Hand-Atlas, bestaande in eene Verzameling van eenige der algemeenste en noodigste Landkaarten. The work was published in Amsterdam by Tirion between 1759 and 1784 (though printed title reads 1744). Isaak Tirion (1705-1765) was a Dutch publisher. His maps often used the cartography of De L'Isle for reference. Tirion "was more of a bookseller and publisher than a geographer or cartographer. But he must have done very well by the cartographer under his employ as his maps excel in style and exactness..." (Koeman p. 126)

Lot: 68626 - Tirion - Map of the West Indies (part of Florida, Cuba, Jamaica, Puerto Rico, et al)

This originally hand-colored map is from Isaac Tirion's Nieuwe en beknopte Hand-Atlas, bestaande in eene Verzameling van eenige der algemeenste en noodigste Landkaarten. The work was published in Amsterdam by Tirion between 1759 and 1784 (though printed title reads 1744). Isaak Tirion (1705-1765) was a Dutch publisher. His maps often used the cartography of De L'Isle for reference. Tirion "was more of a bookseller and publisher than a geographer or cartographer. But he must have done very well by the cartographer under his employ as his maps excel in style and exactness..." (Koeman p. 126)

Lot: 68627 - Tirion - Map of Canada with Great Lakes and Hudson Bay, North America

This originally hand-colored map is from Isaac Tirion's Nieuwe en beknopte Hand-Atlas, bestaande in eene Verzameling van eenige der algemeenste en noodigste Landkaarten. The work was published in Amsterdam by Tirion between 1759 and 1784 (though printed title reads 1744). Isaak Tirion (1705-1765) was a Dutch publisher. His maps often used the cartography of De L'Isle for reference. Tirion "was more of a bookseller and publisher than a geographer or cartographer. But he must have done very well by the cartographer under his employ as his maps excel in style and exactness..." (Koeman p. 126)

Lot: 68628 - Seutter - Map of the British Isles (England or Great Britain, Ireland, Scotland)

This exceptional folio map is from Georg Matthaeus Seutter's Atlas novus sive Tabulae geographicae totius orbis faciem... The atlas was published in Augsburg circa 1732 to 1741. Georg Matthäus Seutter (1678-1757) was one of the most important German mapmakers of the eighteenth century. Born in Augsburg in 1678, he became an apprentice to the renowned cartographer Johann Baptiste Homann in Nuremberg. In 1707 he established himself as a map publisher in Augsburg, and quickly became Homann's main rival. His business flourished and by 1731 he was appointed Geographer to the Imperial Court.

Lot: 68629 - Seutter - Map of Spain & Portugal

This exceptional folio map is from Georg Matthaeus Seutter's Atlas novus sive Tabulae geographicae totius orbis faciem... The atlas was published in Augsburg circa 1732 to 1741. Georg Matthäus Seutter (1678-1757) was one of the most important German mapmakers of the eighteenth century. Born in Augsburg in 1678, he became an apprentice to the renowned cartographer Johann Baptiste Homann in Nuremberg. In 1707 he established himself as a map publisher in Augsburg, and quickly became Homann's main rival. His business flourished and by 1731 he was appointed Geographer to the Imperial Court.

Lot: 68630 - Seutter - Map of Africa

This exceptional folio map is from Georg Matthaeus Seutter's Atlas novus sive Tabulae geographicae totius orbis faciem... The atlas was published in Augsburg circa 1732 to 1741. Georg Matthäus Seutter (1678-1757) was one of the most important German mapmakers of the eighteenth century. Born in Augsburg in 1678, he became an apprentice to the renowned cartographer Johann Baptiste Homann in Nuremberg. In 1707 he established himself as a map publisher in Augsburg, and quickly became Homann's main rival. His business flourished and by 1731 he was appointed Geographer to the Imperial Court.

Lot: 68631 - Seutter - Map of Europe

This exceptional folio map is from Georg Matthaeus Seutter's Atlas novus sive Tabulae geographicae totius orbis faciem... The atlas was published in Augsburg circa 1732 to 1741. Georg Matthäus Seutter (1678-1757) was one of the most important German mapmakers of the eighteenth century. Born in Augsburg in 1678, he became an apprentice to the renowned cartographer Johann Baptiste Homann in Nuremberg. In 1707 he established himself as a map publisher in Augsburg, and quickly became Homann's main rival. His business flourished and by 1731 he was appointed Geographer to the Imperial Court.

Lot: 68632 - Seutter - Map of the World

This exceptional folio map is from Georg Matthaeus Seutter's Atlas novus sive Tabulae geographicae totius orbis faciem... The atlas was published in Augsburg circa 1732 to 1741. Georg Matthäus Seutter (1678-1757) was one of the most important German mapmakers of the eighteenth century. Born in Augsburg in 1678, he became an apprentice to the renowned cartographer Johann Baptiste Homann in Nuremberg. In 1707 he established himself as a map publisher in Augsburg, and quickly became Homann's main rival. His business flourished and by 1731 he was appointed Geographer to the Imperial Court.

Lot: 68633 - Carver - Map of Captain Carver's Travels in North America with the Great Lake, Mississippi River

This historic engraving is from Jonathan Carver's Reize door de binnenlanden van Noord-Amerika or Travel through the interior of North America. This is the first Dutch edition of the work translated by J. D. Pasteur. It was was published in Leyden by A. & J. Honkoop in 1796. "(...) His Travels only appeared in 1778, but then quickly went through 23 editions and became one of the most popular travel works about North America. In addition to the description of the trip, the work contains rich observations about customs and... Customs, religion and language of the Indians. The name 'Oregon' is also found for the first time as a name for the 'Great West River,' which 'near the Anian Street in the Pacific flows into it.'" (Henze 518) Jonathan Carver (1710-1780) was an English-American colonial captain. He was wounded in the massacre at For William Henry in 1757. Carver helped lead the way for future western exploration in America going father than any other English explorer before the Revolution. (Howes) "In 1766 Carver was employed ... to explore to the west of the Great Lake in an attempt to contact the Sioux Indians. ... After wintering with the Indians on the Ste Croix River, Carver set out to return to Mackinac, but at the mouth of the Wisconsin met Captain James Tute, in command of a party send out to explore a route to the Pacific Ocean." (Howgego)

Lot: 68634 - Arrowsmith - Important Map of Texas compiled from Surveys recorded in the Law Office of Texas, and other Official Surveys

About this map: Arrowsmith first published his famous map of the Republic of Texas on 16 November 1841, shortly after the Republic was officially recognized by Great Britain. It documents the developing towns and counties as well as the location of Indian tribes, roads, and natural features. Arrowsmith's map of Texas "was probably the first to show the full extent of Texas's claim to the region of the upper Rio Grande, an area included within Texas's boundaries until the Compromise of 1850 ... the map certainly was the best information on Texas geography available in Europe" (Martin & Martin Maps of Texas and the Southwest, 32; see also Streeter Bibliography of Texas, 1373). The work: This large folio engraving is from John Arrowsmith's The London Atlas of Universal Geography, exhibiting the physical & political divisions of the various countries of the world, constructed from original materials. The work was published in London by J. Arrowsmith in 1843. This is one of the finest 19th-century English atlases, and of particular note was his map of Texas and Australia. John Arrowsmith (1790-1873) was one of the greatest geographers of his era. He was a founding member of the Royal Geographical Society. He introduced the London Atlas in 1834 with subsequent editions dated 1840, 1842, and 1858 but as he continuously added new maps there's no determined collation for each edition. He also continuously updated and corrected his maps which drew their information from documents supplied by `The Colonial Office, the Hydrographical Office of the Admiralty, the East India Company, the Royal Asiatic Society, the Royal Geographical Society', and numerous other `Offices, Companies, and Societies'.

Lot: 68635 - Laet's Historie ofte Iaerlijck Verhael… - Volume with 13 Engraved Maps and Views detailing Dutch West India Company

This rare, first, and only edition is Johannes de Laet's Historie ofte Iaerlijck Verhael van de Verrichtinghen der Geoctroyeerde West-Indische Compagnie, zedert haer Begin, tot het eynde van 't jaer sesthien-hondert ses-en-dertich. The work was published in Leyden in 1644 by B. & A. Elzevier. The volume is complete with 13 double page engraved maps and views. It is bound in contemporary blind-tooled and paneled calf with richly gilt spine with new endpapers. The work is an important source for the history of the Dutch West India Company. "In this work the Company's operations, especially in Brazil, are described with meticulous detail." (Klooster, The Dutch in the Americas 1600-1800, p.45). It details Jan Janszoon van Hoorn's 1633 privateering expedition for the Dutch West India Company to steal silver from the Spanish. This assignment resulted in the sacking of Campeche, Mexico and burning of Trujillo, Hondorus. (Swann, Sale 2648, 2023) Johannes de Laet (1581-1649) was a Dutch geographer. He was one of the founding directors of the Dutch West India Company, appointed in 1619. Laet studied philosophy in Leiden, obtained denizenship in London, but returned to Leidden in 1608. Here he made a fortune in overseas trade and land investments including New Netherland. De Laet was the first to print maps with the names Manhattan, New Amsterdam (now New York City), and Massachusetts. Provenance: Library and cancellation stamp for the Library of Congress, Washington on the title page.

Lot: 68636 - Ellis's Narrative of a tour Through Hawaii - Volume with 2 Maps & 8 Engraved Plates

This historic volume is William Ellis's Narrative of a tour Through Hawaii, or Owhyhee; With Observations On The Natural History of the Sandwich Islands, and Remarks on the Manners, Customs, Traditions, History, and Language of their Inhabitants. This is the third, expanded edition published in London by H. Fisher in 1827. The volume has 480 pages, an engraved frontispiece portrait, two folding maps, and 8 engraved plates. There some illustrations in the text. It is bound in contemporary calf with gilt spine. It has an owner's entry on the title page. "The Narrative of English missionary William Ellis is particularly important, as it was the first book written about the Hawaiian Islands and the first serious notice of the islands since Captain Cook's discovery of them forty-eight years earlier. It may be called the first scientific book on Hawaii: although its main purpose was to report on mission progress, and Ellis was primarily interested in local manners and traditions, he was sufficiently expansive to include observations on such natural and cultural history topics as volcanoes, antiquities, and the anthropology of the islands." (Hill 191) William Ellis (1794-1872) was a British missionary and writer. He set up the first printing press in the South Seas. He also printed the first Hawaiian book in 1823, a hymnal. "[ Narrative of a tour Through Hawaii, or Owhyhee] was the first book written about the Hawaiian Islands and the first serious notice of the islands since Captain Cook's discovery of them forty-eight years earlier. It may be called the first scientific book on Hawaii (...)." (Hill 545)

Lot: 68637 - Paul Kane - White Mud Portage, Winnepeg River (in the Province of Manitoba)

This early americana plate is from Paul Kane's Wanderings of an Artist among the Indians of North America; From Canada to Vancouver Island and Oregon Through the Hudson's Bay Company Territory, and Back Again. The work was published in London in 1859 by Longman, Brown, Green, Longmans, and Roberts. Kane traveled throughout Western America. He visited the Red River Settlement, Saskatchewan valley, Rocky Mountains, Columbia River, shores of Puget Sound, and Vancouver's Island. His goal was to sketch the chiefs, costumes, and types of Native American tribes. The chromolithograph is after his original drawing or painting. Paul Kane (1810-1871) was born in Ireland and immigrated to Canada as a child. He would become one of Canada's most famous 19th century painters. Provenance: Robert Braun Collection

Lot: 68638 - Paul Kane - Portrait of Kee-Akee-Ka-Saa-Ka-Wow with Pipe-Stem, The Man That Gives the War Whoop,” Plains Cree, Fort Pitt, 1846

This early americana plate is from Paul Kane's Wanderings of an Artist among the Indians of North America; From Canada to Vancouver Island and Oregon Through the Hudson's Bay Company Territory, and Back Again. The work was published in London in 1859 by Longman, Brown, Green, Longmans, and Roberts. Kane traveled throughout Western America. He visited the Red River Settlement, Saskatchewan valley, Rocky Mountains, Columbia River, shores of Puget Sound, and Vancouver's Island. His goal was to sketch the chiefs, costumes, and types of Native American tribes. The chromolithograph is after his original drawing or painting. Paul Kane (1810-1871) was born in Ireland and immigrated to Canada as a child. He would become one of Canada's most famous 19th century painters. Provenance: Robert Braun Collection

Lot: 68639 - McKenney & Hall, Folio - Itcho-Tustinnuggee

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

Lot: 68640 - Lewis - A Celebrated Ottawa Chief

This originally hand-colored lithograph is from one of the rarest Indian works, James Otto Lewis’s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hall’s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region. Lewis’s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865.

Lot: 68641 - Lewis - Tens-Qua-Ta-Wa or The One That Opens The Door, Shawnese Prophet, Brother of Tecumthe

This originally hand-colored lithograph is from one of the rarest Indian works, James Otto Lewis’s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hall’s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region. Lewis’s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865.

Lot: 68642 - Lewis - Kee-O-Tuck-Kee, A Pottawattomie Chief

This originally hand-colored lithograph is from one of the rarest Indian works, James Otto Lewis’s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hall’s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region. Lewis’s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865.

Lot: 68643 - Lewis - A Miami Chief

This originally hand-colored lithograph is from one of the rarest Indian works, James Otto Lewis’s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hall’s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region. Lewis’s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865.

Lot: 68644 - Lewis - Cut-Taa-Tas-Tia, A Celebrated Chief of the Fox Tribe

This originally hand-colored lithograph is from one of the rarest Indian works, James Otto Lewis’s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hall’s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region. Lewis’s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865.

Lot: 68645 - Karl Bodmer - The Interior of the Hut of a Mandan Chief

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: 68646 - Karl Bodmer - Winter Village of the Minatarrres. 26

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: 68647 - Audubon, Imperial Folio - 3 Quadruped Lithographs

Included in this lot: Lewis' Marmot. 107 Large-tailed Spermophile. 139 Columbia Pouched Rat. 105 Description of the work: 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: 68648 - Audubon, Imperial Folio - Swift Fox. 52

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: 68649 - Foujita's A Book of Cats - 20 Cat Illustrations and Poems

This exceptional and rare volume with 20 collotype plates is Leonard Tsuguharu Foujita's A Book of Cats. The work was published in New York by Covici Friede in 1930. The plates are printed on Arches paper. Foujita truly captured the character of the cats as they posed, rested, or played. This is a fine example of Foujita's master work, from number 469 of 500 copies. This is "... one of the rarest and most desired books on cats in existence." (Kalda, Of Cats and Men, p 43) Each cat image has its own name and is accompanied by a poem about the respective cat by British writer Michael Joseph (1897-1958). The volume is bound in original red cloth with front cover and spine lettered in silver. Leonard Tsuguharu Foujita (1886-1968) was a Japanese–French painter and printmaker. He was called the "master of cats." He was also referred to as "the most important Japanese artist working in the West during the 20th century." He moved to Paris in 1913 to pursue his artistic career in earnest. He soon became friends with many other leading artists of the day including Juan Gris, Pablo Picasso and Henri Matisse. Provenance: Library of Dr. John Talbot Gernon

Lot: 68650 - Foujita, Rare: Domestic Cat Illustration: Thomyris

This exceptional and rare plate is from Leonard Tsuguharu Foujita's A Book of Cats. The work was published in New York by Covici Friede in 1930. This plate is printed on Japanese vellum paper stamped "Made in France". Foujita truly captured the character of the cats as they posed, rested, or played. A photocopy of the colophon with his signature will be included with the plate as well as a photocopy of the poem. This is a fine example of Foujita's master work, from number 469 of 500 copies. This is "... one of the rarest and most desired books on cats in existence" (Kalda, Of Cats and Men, p 43) Each cat image has its own name and is accompanied by a poem about the respective cat by British writer Michael Joseph (1897-1958). Leonard Tsuguharu Foujita (1886-1968) was a Japanese–French painter and printmaker. He was called the "master of cats." He was also referred to as "the most important Japanese artist working in the West during the 20th century." He moved to Paris in 1913 to pursue his artistic career in earnest. He soon became friends with many other leading artists of the day including Juan Gris, Pablo Picasso and Henri Matisse. Provenance: Library of Dr. John Talbot Gernon

Lot: 68651 - Larmessin - Costume of Hosier or Knitter (Habit de Bonnetier)

This amusing costume engraving is from Nicolas Ier de Larmessin's Les Costumes grotesques et les métiers or Suite of Fanciful Costumes. The work was published in Paris circa 1690. Most of the engravings offered from the work will be from the first printing (with later editions reversed or without backgrounds). The images features a person composed or dressed in the tools and features of their trade. The images drew inspiration from the portraits done by Giuseppe Arcimboldo and popular prints of the time known as "Cries." Barthes noted that work was a product of “a society which was starkly hierarchical, in which fashion was part of a real social ritual. ... A creation which is both poetic and intelligible, in which the profession is represented by its imaginary essence[;] in this fantasy, clothing ends up absorbing Man completely, the worker is anatomically assimilated to the respective instruments and in the end it is an alienation which here is described poetically: Larmessin’s workers are robots avant la lettre” (Barthes, The Language of Fashion, p. 20). Provenance: Gilles Auguste Petit, Parisian milliner and hatmaker; Louis Becker ex-libris

Lot: 68652 - Gazette du Bon Ton - 7 Fashion Pochoirs

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

Lot: 68653 - Maitres Affiches by Livemont - Casino de Cabourg. 88

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: 68654 - Maitres Affiches by Feure - A Jeanne d'Arc. 130

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: 68655 - Maitres Affiches by Cheret - Bal Au Moulin Rouge. 53

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: 68656 - Maitres Affiches by Toulouse-Lautrec - Moulin Rouge - La Goulue. 122

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: 68657 - Van Houtte - California Sunflower

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: 68658 - Van Houtte - Prickly Water Lily

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: 68659 - Van Houtte - Pair of 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: 68660 - Van Houtte - Pair of Cactus 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: 68661 - Van Houtte - 4 Rose 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: 68662 - Van Houtte - 6 Orchid 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: 68663 - Linden - 6 Lady's Slipper Orchid Prints

This remarkable orchid lithograph is from Jean Linden's Lindenia: Iconographie des Orchidees. The work was published Belgium between 1885 and 1894 at the height of Belgium’s “orchid fever” or “orchidelerium.” The chromolithographs were printed by some of the best botanical lithographs of the time including Severeyns and De Pannemaeker after the work of Alfred Goosen and others. Lindenia was one of the most important publications on orchids featuring stunning, high quality color plates. Linden travelled extensively finding over 1100 species of orchids and importing them to Belgium for cultivation. He founded a nursery in Brussels with his son and published Lindenia. Linden’s research and findings revolutionized the cultivation of orchids in Europe.

Lot: 68664 - Cordier - 4 Mushroom or Fungi Lithographs

This originally hand-colored mushroom or fungi lithograph is from Francois-Simeon Cordier's Les Champignons de la France. Histoire, description, culture, usages des espèces comestibles, vénéneuses, suspectes employées dans les arts, l'industrie, l'économie domestique, la médecine. The work was published in Paris by J. Rothschild in 1876. The plates were drawn by Aimée Delville-Cordier, the author's adopted daughter. The work was an important study on mushrooms studying the fungi physiology, climate, chemical composition, and culinary and medicinal applications. The work was dedicated to the "father of mycology", Chrétien-Henri Persoon.

Lot: 68665 - Shaw & Nodder - Pair of Engravings: Snail & Beetle

Included in the lot: Garden Snail. 30 Midas Beetle. 131 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 68666 - Shaw & Nodder - Pair of Engravings: Locust, Mantis

Included in this lot: Migratory or Wandering Locust. 62 Great Mantis. 43 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 68667 - Shaw & Nodder - Red-throated Hummingbird. 66

The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 68668 - Aldrovandi - Chimera (Lion Head, Goat head on body)

This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first

Lot: 68669 - Aldrovandi - Satyr or Faun with Instrument / Verso: Satyr or Faun

This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first

Lot: 68670 - Aldrovandi - Fanciful Feathered Rooster or Chicken / Verso: Many-armed and Eyed Monstrosity

This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first

Lot: 68671 - Pare, pub. 1664 - Sea Monsters

This historic engraving is from Ambroise Pare's Les OEuvres... This is from the twelfth edition, revised and corrected, and was published in Lyon by Pierre Riguad et Antoine Jullieron in 1664. The edition was noted for its addition on an extensive theory on fevers, newly found from Pare's manuscripts. The woodcut engravings for the work were done on chain-linked paper. Pare was perhaps the most famous French surgeon He is considered to be the father of modern surgery. Pare was born in 1510 and lived to 1590. He worked as a barber-surgeon for the army, but his skill placed him as the surgeon of Kings Henri II, Francois II, Charles IX, Henry III, as well as Chaterine de Medici. He dedicated his life to the study of surgery, anatomy, physiology, and therapeutics. Pare made serveral advancements in the medical field. He discovered that dressing a gun shot wound was more effective than cauterizing with oil. He helped move forth the use of ligatures to control bleeding post amputation. He developed an early form of "flap amputation" which saved skin and muscle during surgery. He also invented prosthetic devices include Le Petit Lorrain which was “a mechanical hand operated by catches and springs worn by a French Army captain in battle.” Pare wrote 25 books with topics ranging from medicine, obstetrics, natural history, and demonology.

Lot: 68672 - Pare, pub. 1664 - Mermaid and Merman

This historic engraving is from Ambroise Pare's Les OEuvres... This is from the twelfth edition, revised and corrected, and was published in Lyon by Pierre Riguad et Antoine Jullieron in 1664. The edition was noted for its addition on an extensive theory on fevers, newly found from Pare's manuscripts. The woodcut engravings for the work were done on chain-linked paper. Pare was perhaps the most famous French surgeon He is considered to be the father of modern surgery. Pare was born in 1510 and lived to 1590. He worked as a barber-surgeon for the army, but his skill placed him as the surgeon of Kings Henri II, Francois II, Charles IX, Henry III, as well as Chaterine de Medici. He dedicated his life to the study of surgery, anatomy, physiology, and therapeutics. Pare made serveral advancements in the medical field. He discovered that dressing a gun shot wound was more effective than cauterizing with oil. He helped move forth the use of ligatures to control bleeding post amputation. He developed an early form of "flap amputation" which saved skin and muscle during surgery. He also invented prosthetic devices include Le Petit Lorrain which was “a mechanical hand operated by catches and springs worn by a French Army captain in battle.” Pare wrote 25 books with topics ranging from medicine, obstetrics, natural history, and demonology.

Lot: 68673 - Blumenbach - Pair of Bat Engravings

This originally hand-colored natural history engraving is from Johann Friedrich Blumenbach's Abbildungen naturhistorischer Gegenstände. The work was published in Göttingen, Germany by H. Dieterich between 1797 and 1810. Many of the original illustrations were based on specimens from Blumenbach's natural history collection. He had one of the only collections in Europe at the time to have a platypus specimen.

Lot: 68674 - Lacepede - 4 Fish Engravings

This beautifully hand-colored engraving is from Bernard-Germain-Etienne, comte de Lacepede's Oeuvres Du Comte De Lacepede. The work was the edition published in Brussels between 1833 and 1839. Lacepede (1756-1825) was a noble naturalist, survivor of the French revolution, and collaborator of noted publisher Buffon. This work is considered a continuation Buffon's Histoire Naturelle, with him publishing the parts on fishees, reptiles, and cetaceans.

Lot: 68675 - Lacepede - 5 Ray Engravings

This beautifully hand-colored engraving is from Bernard-Germain-Etienne, comte de Lacepede's Oeuvres Du Comte De Lacepede. The work was the edition published in Brussels between 1833 and 1839. Lacepede (1756-1825) was a noble naturalist, survivor of the French revolution, and collaborator of noted publisher Buffon. This work is considered a continuation Buffon's Histoire Naturelle, with him publishing the parts on fishees, reptiles, and cetaceans.

Lot: 68676 - Lacepede - 4 Turtle or Tortoise Engravings

This beautifully hand-colored engraving is from Bernard-Germain-Etienne, comte de Lacepede's Oeuvres Du Comte De Lacepede. The work was the edition published in Brussels between 1833 and 1839. Lacepede (1756-1825) was a noble naturalist, survivor of the French revolution, and collaborator of noted publisher Buffon. This work is considered a continuation Buffon's Histoire Naturelle, with him publishing the parts on fishees, reptiles, and cetaceans.

Lot: 68677 - Herbst - Crabs

This impressive folio engraving is from Naturgeschichte der Krabben und Krebse by Johann Friedrich Wilhelm Herbst. The work was published between 1782 and 1804 by G. A. Lange between Berlin and Stralsund. Johann Friedrich Wilhelm Herbst (1743-1807) was a German naturalist, entomologist, theologian, and chaplain. He was a member of the Society of Friends of Natural Scientists in Berlin. Herbst's work was the first comprehensive work on crustaceans and introduced many unknown species. Provenance: Oettingen-Wallerstein Library

Lot: 68678 - Herbst - Lobsters

This impressive folio engraving is from Naturgeschichte der Krabben und Krebse by Johann Friedrich Wilhelm Herbst. The work was published between 1782 and 1804 by G. A. Lange between Berlin and Stralsund. Johann Friedrich Wilhelm Herbst (1743-1807) was a German naturalist, entomologist, theologian, and chaplain. He was a member of the Society of Friends of Natural Scientists in Berlin. Herbst's work was the first comprehensive work on crustaceans and introduced many unknown species. Provenance: Oettingen-Wallerstein Library

Lot: 68679 - Bloch, Folio - Treble Coloured Chetodon Fish. 426

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 by the author and F. de la Garde between 1785 and 1797 and was the first French edition. The engravers for the work were Ludwig Schmidt, F. Berger, P. Haas, and Moritz Bodenehr. The original illustrations were done by Johan Friedrich Henning, Johan Friedrich August Krueger, Printz Moritz, and Pater Plumier. The names of the fish are typically printed to the plate in Latin, French, English and German. 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) Marcus Elieser Bloch (1723-1799) 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: 68680 - Bloch, Folio - Fish - Chaetodon Annularis, C. Octofasciatus. 215

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 by the author and F. de la Garde between 1785 and 1797 and was the first French edition. The engravers for the work were Ludwig Schmidt, F. Berger, P. Haas, and Moritz Bodenehr. The original illustrations were done by Johan Friedrich Henning, Johan Friedrich August Krueger, Printz Moritz, and Pater Plumier. The names of the fish are typically printed to the plate in Latin, French, English and German. 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) Marcus Elieser Bloch (1723-1799) 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: 68681 - Bloch, Folio - Fish - Chaetodon Cornutus, C. Macrolepidotus. 200

This striking, originally hand-colored folio engraving is from Marcus Elieser Bloch’s Ichthyologie, ou Histoire Naturelle Generale et Particuliere des Poissons. The work was published in Berlin by the author and F. de la Garde between 1785 and 1797 and was the first French edition. The engravers for the work were Ludwig Schmidt, F. Berger, P. Haas, and Moritz Bodenehr. The original illustrations were done by Johan Friedrich Henning, Johan Friedrich August Krueger, Printz Moritz, and Pater Plumier. The names of the fish are typically printed to the plate in Latin, French, English and German. 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) Marcus Elieser Bloch (1723-1799) 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: 68682 - Bloch, Folio - Fish - Chaetodon Glaucus. 210

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 by the author and F. de la Garde between 1785 and 1797 and was the first French edition. The engravers for the work were Ludwig Schmidt, F. Berger, P. Haas, and Moritz Bodenehr. The original illustrations were done by Johan Friedrich Henning, Johan Friedrich August Krueger, Printz Moritz, and Pater Plumier. The names of the fish are typically printed to the plate in Latin, French, English and German. 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) Marcus Elieser Bloch (1723-1799) 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: 68683 - Bloch, Folio - Rhomboidal Salmon. 383

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 by the author and F. de la Garde between 1785 and 1797 and was the first French edition. The engravers for the work were Ludwig Schmidt, F. Berger, P. Haas, and Moritz Bodenehr. The original illustrations were done by Johan Friedrich Henning, Johan Friedrich August Krueger, Printz Moritz, and Pater Plumier. The names of the fish are typically printed to the plate in Latin, French, English and German. 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) Marcus Elieser Bloch (1723-1799) 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: 68684 - Bloch, Folio - Sickle Chetodon & Bristle Chetodon. 425

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 by the author and F. de la Garde between 1785 and 1797 and was the first French edition. The engravers for the work were Ludwig Schmidt, F. Berger, P. Haas, and Moritz Bodenehr. The original illustrations were done by Johan Friedrich Henning, Johan Friedrich August Krueger, Printz Moritz, and Pater Plumier. The names of the fish are typically printed to the plate in Latin, French, English and German. 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) Marcus Elieser Bloch (1723-1799) 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: 68685 - Audubon - Arctic Fox. 121

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York between 1849 and 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: 68686 - Audubon - Esquimaux Dog. 113

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York between 1849 and 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: 68687 - Audubon - Hare Indian Dog. 132

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York between 1849 and 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: 68688 - Audubon - Swift Fox. 52

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York between 1849 and 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: 68689 - Audubon - Caribou or American Reindeer. 126

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York between 1849 and 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: 68690 - Audubon - Common or Virginian Deer. 136

This octavo lithograph is from John James Audubon's The Quadrupeds of North America. The work was published in New York between 1849 and 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: 68691 - Audubon - 9 Water Bird Lithographs (Shearwater, Jager, Petrel)

Included in this lot: Arctic Jager. 453 Fulmar Petrel. 455 Wandering Shearwater. 456 Manks Shearwater. 457 Dusky Shearwater. 458 Leach's Petrel Forked-tailed Petrel. 459 Wilson's Petrel Mother Carey's Chicken. 460 Pomerine Jager. 451 Richardson Jager. 452 Description of the work: 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: 68692 - Audubon - 4 Shore Bird Lithographs (Godwit, Snipe, Curlew)

Included in this lot: Great Marbled Godwit. 348 Hudsonian Godwit. 349 Red-breasted Snipe. 351 Esquimaux Curlew. 357 Description of the work: 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: 68693 - Audubon - Chestnut-sided Wood-Warbler. 81

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: 68694 - Audubon - Great Carolina Wren. 117

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: 68695 - Audubon - Hooded Flycatching Warbler. 71

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: 68696 - Audubon - Wilson's Flycatching-Warbler. 75

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: 68697 - Audubon - Bay-breasted Wood-Warbler. 80

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: 68698 - Audubon - Canada Flycatcher. 72

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: 68699 - Audubon - Bonaparte's Flycatching Warbler. 73

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: 68700 - Audubon - Kentucky Flycatching-Warbler. 74

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: 68701 - Reichenbach - Kingfishers. 26

This originally hand-colored natural history engraving is from Dr. Anton Benedict Reichenbach's Praktische Naturgeschichte der Vögel. Für Gebildete aller Stände. The work was published in Leipzig in 1850 by Gebhardt & Reisland. Reichenbach (1807-1880) was a German theologian and teacher of natural history and wrote works on scientific topics.

Lot: 68702 - Reichenbach - Trogon or Quetzal & Barbet. 23

This originally hand-colored natural history engraving is from Dr. Anton Benedict Reichenbach's Praktische Naturgeschichte der Vögel. Für Gebildete aller Stände. The work was published in Leipzig in 1850 by Gebhardt & Reisland. Reichenbach (1807-1880) was a German theologian and teacher of natural history and wrote works on scientific topics.

Lot: 68703 - Reichenbach - Cockatoos, Nestor, Parrots. 22

This originally hand-colored natural history engraving is from Dr. Anton Benedict Reichenbach's Praktische Naturgeschichte der Vögel. Für Gebildete aller Stände. The work was published in Leipzig in 1850 by Gebhardt & Reisland. Reichenbach (1807-1880) was a German theologian and teacher of natural history and wrote works on scientific topics.

Lot: 68704 - Reichenbach - Toucans & Hornbill. 25

This originally hand-colored natural history engraving is from Dr. Anton Benedict Reichenbach's Praktische Naturgeschichte der Vögel. Für Gebildete aller Stände. The work was published in Leipzig in 1850 by Gebhardt & Reisland. Reichenbach (1807-1880) was a German theologian and teacher of natural history and wrote works on scientific topics.

Lot: 68705 - Keulemans - 12 Bird Lithographs

This delightful, originally hand-colored bird lithograph is from J. G. Keuleman's Onze Vogels in Huis en Tuin. The work was published in Leyden (Leiden), Netherlands by P. W. M. Trap between 1869 and 1876. Keulemans created the original drawings and lithographed outlines, with Trap completing the lithography. Keulemans colored the plates by hand himself - "A collection of colored prints of various birds by a celebrated artist. Keulemans not only lithographed the original outlines but afterwards colored them by hand." (Wood 416) John Gerrard Keulemans (1842-1912) is one of the most respected bird artists whose images were noted for their fine detail. He contributed to some of the best known ornithological works including those of Elliot, Buller, Dresser, and The Ibis. According to Jackson (Bird Illustrators, p. 90) “The great value of Keulemans' work as an ornithological draughtsman lay in his sureness of design of the plate and his accuracy in portraying the birds themselves. The bird figures were carefully drawn and executed down to the last scales on the feet. The feathering was neatly delineated with the different plumes receiving sympathetic treatment.” Provenance: The Ken Harte Collection of Natural History

Lot: 68706 - Albin - 5 Bird Engravings (Parrot, Woodpecker)

This originally hand-colored etching is from Eleazar Albin's The Natural History of Birds. The first edition work was published in London by William Innys between 1731 and 1738. Eleazar Albin made his living creating watercolors of wealthy collectors' cabinets, including Sir Hans Sloane. Sloane's collection founded the British Museum. Many of these collectors then subscribed to his Natural History of Birds. The plates were completed by Eleazar as well as his children, Elizabeth and Fortinalus. In Albin's notes to the reader he states "As for the paintings, they are all done from the life, with all the Exactness I could either with my own hand, or my daughters, whom I have taught to draw and paint after the life."

Lot: 68707 - Albin - 6 Shore or Water Bird Engravings

This originally hand-colored etching is from Eleazar Albin's The Natural History of Birds. The first edition work was published in London by William Innys between 1731 and 1738. Eleazar Albin made his living creating watercolors of wealthy collectors' cabinets, including Sir Hans Sloane. Sloane's collection founded the British Museum. Many of these collectors then subscribed to his Natural History of Birds. The plates were completed by Eleazar as well as his children, Elizabeth and Fortinalus. In Albin's notes to the reader he states "As for the paintings, they are all done from the life, with all the Exactness I could either with my own hand, or my daughters, whom I have taught to draw and paint after the life."

Lot: 68708 - Albin - 6 Game Bird Engravings

This originally hand-colored etching is from Eleazar Albin's The Natural History of Birds. The first edition work was published in London by William Innys between 1731 and 1738. Eleazar Albin made his living creating watercolors of wealthy collectors' cabinets, including Sir Hans Sloane. Sloane's collection founded the British Museum. Many of these collectors then subscribed to his Natural History of Birds. The plates were completed by Eleazar as well as his children, Elizabeth and Fortinalus. In Albin's notes to the reader he states "As for the paintings, they are all done from the life, with all the Exactness I could either with my own hand, or my daughters, whom I have taught to draw and paint after the life."

Lot: 68709 - Albin - 3 Bird of Prey Engravings

This originally hand-colored etching is from Eleazar Albin's The Natural History of Birds. The first edition work was published in London by William Innys between 1731 and 1738. Eleazar Albin made his living creating watercolors of wealthy collectors' cabinets, including Sir Hans Sloane. Sloane's collection founded the British Museum. Many of these collectors then subscribed to his Natural History of Birds. The plates were completed by Eleazar as well as his children, Elizabeth and Fortinalus. In Albin's notes to the reader he states "As for the paintings, they are all done from the life, with all the Exactness I could either with my own hand, or my daughters, whom I have taught to draw and paint after the life."

Lot: 68710 - Albin - Great Brown Owl

This originally hand-colored etching is from Eleazar Albin's The Natural History of Birds. The first edition work was published in London by William Innys between 1731 and 1738. Eleazar Albin made his living creating watercolors of wealthy collectors' cabinets, including Sir Hans Sloane. Sloane's collection founded the British Museum. Many of these collectors then subscribed to his Natural History of Birds. The plates were completed by Eleazar as well as his children, Elizabeth and Fortinalus. In Albin's notes to the reader he states "As for the paintings, they are all done from the life, with all the Exactness I could either with my own hand, or my daughters, whom I have taught to draw and paint after the life."

Lot: 68711 - Albin - Black Wing'd Horn'd Owl

This originally hand-colored etching is from Eleazar Albin's The Natural History of Birds. The first edition work was published in London by William Innys between 1731 and 1738. Eleazar Albin made his living creating watercolors of wealthy collectors' cabinets, including Sir Hans Sloane. Sloane's collection founded the British Museum. Many of these collectors then subscribed to his Natural History of Birds. The plates were completed by Eleazar as well as his children, Elizabeth and Fortinalus. In Albin's notes to the reader he states "As for the paintings, they are all done from the life, with all the Exactness I could either with my own hand, or my daughters, whom I have taught to draw and paint after the life."

Lot: 68712 - Baird - Ferruginous Pigmy Owl

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. Provenance: Robert Braun Collection

Lot: 68713 - Baird - Florida Burrowing Owl

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. Provenance: Robert Braun Collection

Lot: 68714 - Baird - Ruby-throat Humming Bird

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. Provenance: Robert Braun Collection

Lot: 68715 - Baird - Parakeet (Carolina Parrot)

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. Provenance: Robert Braun Collection

Lot: 68716 - Baird - Woodpecker Heads (including Ivory-billed Woodpecker)

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. Provenance: Robert Braun Collection

Lot: 68717 - Baird - Woodpecker & Parrot Heads (including Carolina Parrot)

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. Provenance: Robert Braun Collection

Lot: 68718 - Edwards - Golden-crowned Parrakeet & Least Green and Blue Parrakeet. 235

This originally hand-colored engraving is from George Edwards's A Natural History of Uncommon Birds and of some other Rare and Undescribed Animals and Gleanings of Natural History. The work was published in London for the Author between 1745 and 1806. This was one of the most important natural history works. Many of the birds in the work had not been previously illustrated, with quite a few being foreign species drawn from captivity in London. Linnaeus gave around 350 birds their scientific names based on Edwards's descriptions. George Edwards (1694-1773) was an English draughtsman and proficient ornithologist. He worked as the Librarian to the Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 68719 - Edwards - Blue-headed Parrot. 314

This originally hand-colored engraving is from George Edwards's A Natural History of Uncommon Birds and of some other Rare and Undescribed Animals and Gleanings of Natural History. The work was published in London for the Author between 1745 and 1806. This was one of the most important natural history works. Many of the birds in the work had not been previously illustrated, with quite a few being foreign species drawn from captivity in London. Linnaeus gave around 350 birds their scientific names based on Edwards's descriptions. George Edwards (1694-1773) was an English draughtsman and proficient ornithologist. He worked as the Librarian to the Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 68720 - Edwards - Long-tailed Scarlet Lory. 173

This originally hand-colored engraving is from George Edwards's A Natural History of Uncommon Birds and of some other Rare and Undescribed Animals and Gleanings of Natural History. The work was published in London for the Author between 1745 and 1806. This was one of the most important natural history works. Many of the birds in the work had not been previously illustrated, with quite a few being foreign species drawn from captivity in London. Linnaeus gave around 350 birds their scientific names based on Edwards's descriptions. George Edwards (1694-1773) was an English draughtsman and proficient ornithologist. He worked as the Librarian to the Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 68721 - Edwards - Scarlet Lory. 172

This originally hand-colored engraving is from George Edwards's A Natural History of Uncommon Birds and of some other Rare and Undescribed Animals and Gleanings of Natural History. The work was published in London for the Author between 1745 and 1806. This was one of the most important natural history works. Many of the birds in the work had not been previously illustrated, with quite a few being foreign species drawn from captivity in London. Linnaeus gave around 350 birds their scientific names based on Edwards's descriptions. George Edwards (1694-1773) was an English draughtsman and proficient ornithologist. He worked as the Librarian to the Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 68722 - Edwards - Pair of Toucan Engravings

This originally hand-colored engraving is from George Edwards's A Natural History of Uncommon Birds and of some other Rare and Undescribed Animals and Gleanings of Natural History. The work was published in London for the Author between 1745 and 1806. This was one of the most important natural history works. Many of the birds in the work had not been previously illustrated, with quite a few being foreign species drawn from captivity in London. Linnaeus gave around 350 birds their scientific names based on Edwards's descriptions. George Edwards (1694-1773) was an English draughtsman and proficient ornithologist. He worked as the Librarian to the Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 68723 - Lear & Gould - Common Night Heron

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: 68724 - Lear & Gould - Freckled Bittern

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: 68725 - Lear & Gould - Great Egret

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: 68726 - Lear & Gould - Numidian Demoiselle or Crane

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: 68727 - Lear & Gould - Kite

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: 68728 - Mathews, Australia - Original Part for Volume 11 Part 8 with 6 Bird Lithographs

Included in this lot: Bridled & Yellow-streaked Honey-Eater. 533 White-eared & Yellow-throated Honey-Eater. 534 White-streaked Honey-Eater. 535 Yellow-tufted & Helmeted Honey-Eater. 536 Wattle-cheeked Honey-Eater. 537 Grey-headed & Yellow-plumed Honey-Eater. 538 Description of the work: This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. between 1910 and 1927. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies. Gregory Macalister Mathews (1870-1949) was a fellow of the Royal Society of Edinburgh and affiliated with a number of scientific organizations. He was named Order of Commander of the British Empire for his contributions to science. "An enormous amount of information is contained in these volumes, in which the literature concerned and the question of nomenclature are fully treated. Under each genus synonyms, a brief diagnosis, a description, and a key to the species are given, while under each form we find a detailed synomyny, information about distribution and as far as posssible, a description of the adult male, the adult female, the immature bird, and the nestling; the eggs and the nests are also described, and the breedings-months stated. Then follows an account of the habits and life-history of the birds, including long quotations from the literature." (Anker p. 163) "Time was also running out for J.G. Keulemans but not before he had started on Mathew's monumental work, 'The Birds of Australia', one of the most important ornithological treatises ever published... Keulemans completed 163 illustrations for the first four volumes before he died on the 29th of March 1912." (Keulemans & Coldewey, Feathers to Brush p. 27) Provenance: Henry Boardman Conover (1892-1950), an amateur ornithologist who donated his collections of 18,000 specimens to the Field Museum; Estate of Peter Fortsas

Lot: 68729 - Mathews, Australia - Original Part for Volume 11 Part 5 with 6 BirdLithographs

Included in this lot: Red-headed & Sanguineous Honey-Eater. 515 Banded & Black Honey-Eater. 516 Dusky Honey-Eater. 517 Spinebill. 518 White-Browed Spinebill & Tawny-fronted Honey-Eater. 519 White-Fronted Honey-Eater. 520 Description of the work: This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. between 1910 and 1927. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies. Gregory Macalister Mathews (1870-1949) was a fellow of the Royal Society of Edinburgh and affiliated with a number of scientific organizations. He was named Order of Commander of the British Empire for his contributions to science. "An enormous amount of information is contained in these volumes, in which the literature concerned and the question of nomenclature are fully treated. Under each genus synonyms, a brief diagnosis, a description, and a key to the species are given, while under each form we find a detailed synomyny, information about distribution and as far as posssible, a description of the adult male, the adult female, the immature bird, and the nestling; the eggs and the nests are also described, and the breedings-months stated. Then follows an account of the habits and life-history of the birds, including long quotations from the literature." (Anker p. 163) "Time was also running out for J.G. Keulemans but not before he had started on Mathew's monumental work, 'The Birds of Australia', one of the most important ornithological treatises ever published... Keulemans completed 163 illustrations for the first four volumes before he died on the 29th of March 1912." (Keulemans & Coldewey, Feathers to Brush p. 27) Provenance: Henry Boardman Conover (1892-1950), an amateur ornithologist who donated his collections of 18,000 specimens to the Field Museum; Estate of Peter Fortsas

Lot: 68730 - Mathews, Australia - Original Part for Volume 12 Part 10 with 5 Bird Lithographs

Included in this lot: Crow. 596 Crow Heads. 597 White-winged Chough. 598 Grey Jumper. 599 Rufous-crowned Emu-Wren & Black-breasted Ground-Bird. 600 Description of the work: This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. between 1910 and 1927. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies. Gregory Macalister Mathews (1870-1949) was a fellow of the Royal Society of Edinburgh and affiliated with a number of scientific organizations. He was named Order of Commander of the British Empire for his contributions to science. "An enormous amount of information is contained in these volumes, in which the literature concerned and the question of nomenclature are fully treated. Under each genus synonyms, a brief diagnosis, a description, and a key to the species are given, while under each form we find a detailed synomyny, information about distribution and as far as posssible, a description of the adult male, the adult female, the immature bird, and the nestling; the eggs and the nests are also described, and the breedings-months stated. Then follows an account of the habits and life-history of the birds, including long quotations from the literature." (Anker p. 163) "Time was also running out for J.G. Keulemans but not before he had started on Mathew's monumental work, 'The Birds of Australia', one of the most important ornithological treatises ever published... Keulemans completed 163 illustrations for the first four volumes before he died on the 29th of March 1912." (Keulemans & Coldewey, Feathers to Brush p. 27) Provenance: Henry Boardman Conover (1892-1950), an amateur ornithologist who donated his collections of 18,000 specimens to the Field Museum; Estate of Peter Fortsas

Lot: 68731 - Mathews, Australia - Original Part for Volume 12 Part 7 with 6 Bird Lithographs

Included in this lot: Oriole. 578 Yellow Oriole. 579 Shining Starling or Spangled Drongo. 580 Satin Bower-Bird. 581 Tooth-billed Bower-Bird. 582 Spotted Cat-Bird & Cat-Bird. 583 Description of the work: This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. between 1910 and 1927. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies. Gregory Macalister Mathews (1870-1949) was a fellow of the Royal Society of Edinburgh and affiliated with a number of scientific organizations. He was named Order of Commander of the British Empire for his contributions to science. "An enormous amount of information is contained in these volumes, in which the literature concerned and the question of nomenclature are fully treated. Under each genus synonyms, a brief diagnosis, a description, and a key to the species are given, while under each form we find a detailed synomyny, information about distribution and as far as posssible, a description of the adult male, the adult female, the immature bird, and the nestling; the eggs and the nests are also described, and the breedings-months stated. Then follows an account of the habits and life-history of the birds, including long quotations from the literature." (Anker p. 163) "Time was also running out for J.G. Keulemans but not before he had started on Mathew's monumental work, 'The Birds of Australia', one of the most important ornithological treatises ever published... Keulemans completed 163 illustrations for the first four volumes before he died on the 29th of March 1912." (Keulemans & Coldewey, Feathers to Brush p. 27) Provenance: Henry Boardman Conover (1892-1950), an amateur ornithologist who donated his collections of 18,000 specimens to the Field Museum; Estate of Peter Fortsas

Lot: 68732 - Mathews, Australia - Red-Faced Lorilet

This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. between 1910 and 1927. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies. Gregory Macalister Mathews (1870-1949) was a fellow of the Royal Society of Edinburgh and affiliated with a number of scientific organizations. He was named Order of Commander of the British Empire for his contributions to science. "An enormous amount of information is contained in these volumes, in which the literature concerned and the question of nomenclature are fully treated. Under each genus synonyms, a brief diagnosis, a description, and a key to the species are given, while under each form we find a detailed synomyny, information about distribution and as far as posssible, a description of the adult male, the adult female, the immature bird, and the nestling; the eggs and the nests are also described, and the breedings-months stated. Then follows an account of the habits and life-history of the birds, including long quotations from the literature." (Anker p. 163) "Time was also running out for J.G. Keulemans but not before he had started on Mathew's monumental work, 'The Birds of Australia', one of the most important ornithological treatises ever published... Keulemans completed 163 illustrations for the first four volumes before he died on the 29th of March 1912." (Keulemans & Coldewey, Feathers to Brush p. 27) Provenance: Henry Boardman Conover (1892-1950), an amateur ornithologist who donated his collections of 18,000 specimens to the Field Museum; Estate of Peter Fortsas

Lot: 68733 - Mathews, Australia - Red-sided Parrot

This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. between 1910 and 1927. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies. Gregory Macalister Mathews (1870-1949) was a fellow of the Royal Society of Edinburgh and affiliated with a number of scientific organizations. He was named Order of Commander of the British Empire for his contributions to science. "An enormous amount of information is contained in these volumes, in which the literature concerned and the question of nomenclature are fully treated. Under each genus synonyms, a brief diagnosis, a description, and a key to the species are given, while under each form we find a detailed synomyny, information about distribution and as far as posssible, a description of the adult male, the adult female, the immature bird, and the nestling; the eggs and the nests are also described, and the breedings-months stated. Then follows an account of the habits and life-history of the birds, including long quotations from the literature." (Anker p. 163) "Time was also running out for J.G. Keulemans but not before he had started on Mathew's monumental work, 'The Birds of Australia', one of the most important ornithological treatises ever published... Keulemans completed 163 illustrations for the first four volumes before he died on the 29th of March 1912." (Keulemans & Coldewey, Feathers to Brush p. 27) Provenance: Henry Boardman Conover (1892-1950), an amateur ornithologist who donated his collections of 18,000 specimens to the Field Museum; Estate of Peter Fortsas

Lot: 68734 - Gould, Australia - Mound-raising Megapode

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: 68735 - Gould, Australia - Wattled Talegalla

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: 68736 - Gould, Australia - Crimson-bellied Parrakeet

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: 68737 - Gould, Australia - Bourke's Grass-Parrakeet

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: 68738 - Gould, Australia - Barnard's Parrakeet

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: 68739 - Gould, Australia - Red-winged Lory

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: 68740 - Martinet - Platypus

This originally hand-colored natural history engraving is from Joannes Florentius Martinet's Katechismus der natuur, verkort en (...) verbeterd door J.A. Uilkens or Catechism of Nature. The work was published in Amsterdam by Johannes Allart in 1809. Joannes Florentius Martinet (1729-1795) was a Dutch theologian, philosopher, and author. He believed that the study of nature was essential to understanding the hand of God in the world. Marieke van Delft writes that "Martinet’s books have had a great influence — especially his Katechismus der natuur (with more than 20 English editions published up to 1850). His was a ‘household name’ ... [and] central to the education of the Dutch nobility and upper classes throughout the latter half of the 18th century and beyond." (Public Domain Review, The Writings of J.F. Martinet)

Lot: 68741 - Original Botanical Watercolor of Wild Chili Pepper by Ledel after Rumphius (according to Linnaeus system)

This superb original botanical watercolor is from a manuscript entitled Hortus Botanicus which illustrated plants according to the Linnaean system and Willdenow's revisions. The manuscript was completed in Vienna between 1810 and 1820. The paper is dutch and datable to the late 18th and early 19th century. There are watermarks from the makers of C.& J. Honig, J. Kool, J. Villedary, and D. & C. Blauw. Karl Ludwig Willdenow completed a comprehensive and influential revision of Sir Charles Linnaeus's Species Plantarum with his work Series plantarum and dated between 1797 and 1805. This collection follows the revisions Willdenow created and is profusely illustrated. Each watercolor details the sources for the illustration in the lower nomenclature. The original artist is named in the left corner and the right corner states the source work of the original illustration. The watercolor artist for the manuscript is unknown. A good portion of the watercolors were after Jacquin's works including Icones plantarum rariores, Florae Austriacae, and Plantarum rariorum Horti Caesarei Schoenbrunnensis. Illustrations were also after Aiton, William Curtis, Oeder, Scopoli, Cavanilles, Besler, Rheede, Roxburgh, Banks, and Pallas. Provenance: Library of Henry Rogers Broughton

Lot: 68742 - Original Botanical Watercolor of Poison Fruit or Strychnine Tree by Ledel after Banks (according to Linnaeus system)

This superb original botanical watercolor is from a manuscript entitled Hortus Botanicus which illustrated plants according to the Linnaean system and Willdenow's revisions. The manuscript was completed in Vienna between 1810 and 1820. The paper is dutch and datable to the late 18th and early 19th century. There are watermarks from the makers of C.& J. Honig, J. Kool, J. Villedary, and D. & C. Blauw. Karl Ludwig Willdenow completed a comprehensive and influential revision of Sir Charles Linnaeus's Species Plantarum with his work Series plantarum and dated between 1797 and 1805. This collection follows the revisions Willdenow created and is profusely illustrated. Each watercolor details the sources for the illustration in the lower nomenclature. The original artist is named in the left corner and the right corner states the source work of the original illustration. The watercolor artist for the manuscript is unknown. A good portion of the watercolors were after Jacquin's works including Icones plantarum rariores, Florae Austriacae, and Plantarum rariorum Horti Caesarei Schoenbrunnensis. Illustrations were also after Aiton, William Curtis, Oeder, Scopoli, Cavanilles, Besler, Rheede, Roxburgh, Banks, and Pallas. Provenance: Library of Henry Rogers Broughton

Lot: 68743 - Original Botanical Watercolor of Teak by Ledel after Banks (according to Linnaeus system)

This superb original botanical watercolor is from a manuscript entitled Hortus Botanicus which illustrated plants according to the Linnaean system and Willdenow's revisions. The manuscript was completed in Vienna between 1810 and 1820. The paper is dutch and datable to the late 18th and early 19th century. There are watermarks from the makers of C.& J. Honig, J. Kool, J. Villedary, and D. & C. Blauw. Karl Ludwig Willdenow completed a comprehensive and influential revision of Sir Charles Linnaeus's Species Plantarum with his work Series plantarum and dated between 1797 and 1805. This collection follows the revisions Willdenow created and is profusely illustrated. Each watercolor details the sources for the illustration in the lower nomenclature. The original artist is named in the left corner and the right corner states the source work of the original illustration. The watercolor artist for the manuscript is unknown. A good portion of the watercolors were after Jacquin's works including Icones plantarum rariores, Florae Austriacae, and Plantarum rariorum Horti Caesarei Schoenbrunnensis. Illustrations were also after Aiton, William Curtis, Oeder, Scopoli, Cavanilles, Besler, Rheede, Roxburgh, Banks, and Pallas. Provenance: Library of Henry Rogers Broughton

Lot: 68744 - Original Botanical Watercolor of Mango by Knapp after Jacquin (according to Linnaeus system)

This superb original botanical watercolor is from a manuscript entitled Hortus Botanicus which illustrated plants according to the Linnaean system and Willdenow's revisions. The manuscript was completed in Vienna between 1810 and 1820. The paper is dutch and datable to the late 18th and early 19th century. There are watermarks from the makers of C.& J. Honig, J. Kool, J. Villedary, and D. & C. Blauw. Karl Ludwig Willdenow completed a comprehensive and influential revision of Sir Charles Linnaeus's Species Plantarum with his work Series plantarum and dated between 1797 and 1805. This collection follows the revisions Willdenow created and is profusely illustrated. Each watercolor details the sources for the illustration in the lower nomenclature. The original artist is named in the left corner and the right corner states the source work of the original illustration. The watercolor artist for the manuscript is unknown. A good portion of the watercolors were after Jacquin's works including Icones plantarum rariores, Florae Austriacae, and Plantarum rariorum Horti Caesarei Schoenbrunnensis. Illustrations were also after Aiton, William Curtis, Oeder, Scopoli, Cavanilles, Besler, Rheede, Roxburgh, Banks, and Pallas. Provenance: Library of Henry Rogers Broughton

Lot: 68745 - Original Botanical Watercolor of Bird of Paradise Flower by Knapp after Curtis (according to Linnaeus system)

This superb original botanical watercolor is from a manuscript entitled Hortus Botanicus which illustrated plants according to the Linnaean system and Willdenow's revisions. The manuscript was completed in Vienna between 1810 and 1820. The paper is dutch and datable to the late 18th and early 19th century. There are watermarks from the makers of C.& J. Honig, J. Kool, J. Villedary, and D. & C. Blauw. Karl Ludwig Willdenow completed a comprehensive and influential revision of Sir Charles Linnaeus's Species Plantarum with his work Series plantarum and dated between 1797 and 1805. This collection follows the revisions Willdenow created and is profusely illustrated. Each watercolor details the sources for the illustration in the lower nomenclature. The original artist is named in the left corner and the right corner states the source work of the original illustration. The watercolor artist for the manuscript is unknown. A good portion of the watercolors were after Jacquin's works including Icones plantarum rariores, Florae Austriacae, and Plantarum rariorum Horti Caesarei Schoenbrunnensis. Illustrations were also after Aiton, William Curtis, Oeder, Scopoli, Cavanilles, Besler, Rheede, Roxburgh, Banks, and Pallas. Provenance: Library of Henry Rogers Broughton

Lot: 68746 - Redoute, Folio - Orchid (Limodorum purpureum).

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

Lot: 68747 - Redoute, Folio - Dayflower (Commelina tuberosa). 100

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

Lot: 68748 - Redoute, Folio - Hosta (Hemerocallis caerulea). 106

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

Lot: 68749 - Redoute, Folio - Golden Canna Lily (Canna Flaccida)

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

Lot: 68750 - Thornton, Folio - Roses with Birds, Nest & Eggs, and Dragonfly

This dramatic large folio botanical engraving is from Dr. Robert John Thornton’s work New Illustration of the Sexual System of Carolus Von Linnaeus...and the Temple of Flora, or Garden of Nature. This was the first edition of the work published in London by between 1787 and 1812. Each engraving was made using stipple, mezzotint, and aquatint processes and some feature hand-coloring heightened with gum Arabic. The engraving will include the text when available to send with the plate. 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)