Antique Prints, Maps, & Books of Natural

Lot: 69801 - De Bry - Florida - Ceremonies performed by Saturioua before going out to war

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: 69802 - De Bry - Florida - How Outina's men treated the slain of the enemy (Scalping)

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: 69803 - De Bry - Virginia - The marks of sundry of the chief men of Virginia

This significant, historic engraving is from Theodor de Bry & Thomas Hariot's Admiranda narratio fida tamen, de commodis et incolarum ritibus Virginiae, ... Anglico scripta sermone a Thoma Hariot or Hariot's Virginia. It is the first 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 Johann Wechel for Theodor de Bry. The work began publishing in 1590 with this volume printed circa 1608. This is from one of the most important volumes published on early North America. It is a first eyewitness pictorial record of the American southeast. It was also the first illustrated account dedicated to any portion of what is now the United States. The engraving here is from the first part of Theodor de Bry's Grands Voyages and from "the rarest volume of that series." (Sabin 30377) Hariot wrote the text and first described Virginia and North Carolina. He was part of the Roanoke expedition along with the artist, John White, and wrote from direct observation. White's illustrations are now celebrated early American images. He served as Lieutenant-Governor of the colony. 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: 69804 - De Bry - Virginia - The town of Pomeiooc

This significant, historic engraving is from Theodor de Bry & Thomas Hariot's Admiranda narratio fida tamen, de commodis et incolarum ritibus Virginiae, ... Anglico scripta sermone a Thoma Hariot or Hariot's Virginia. It is the first 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 Johann Wechel for Theodor de Bry. The work began publishing in 1590 with this volume printed circa 1608. This is from one of the most important volumes published on early North America. It is a first eyewitness pictorial record of the American southeast. It was also the first illustrated account dedicated to any portion of what is now the United States. The engraving here is from the first part of Theodor de Bry's Grands Voyages and from "the rarest volume of that series." (Sabin 30377) Hariot wrote the text and first described Virginia and North Carolina. He was part of the Roanoke expedition along with the artist, John White, and wrote from direct observation. White's illustrations are now celebrated early American images. He served as Lieutenant-Governor of the colony. 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: 69805 - Barbault - Acqua Paola's Fountain

This folio engraving is from Jean Barbault's Les Plus Beaux Edifices de Rome Moderne or The Most Beautiful Edifices of Modern Rome, or a Collection of the Most Beautiful Views of the Main Churches, Places, Plazas, Fountains etc., which are in Rome. The work was published in Rome by Bouchard & Gravier in 1763. Each engraving offers a stunning view of Rome very much in the style of Piranesi, but with Barbault offering different angles and views. the engravers for the work included Dominico Montagu, Giraud, and Freicenet. Jean Barbault (1718-1762) was a French painter, etcher, and print-maker. He worked predominantly in Rome and a disciple of Piranesi. He was noted for his work documenting Roman monuments and antiquities and paintings of local people and costumes.

Lot: 69806 - Barbault - St. Maria Maggiore's Basilica

This folio engraving is from Jean Barbault's Les Plus Beaux Edifices de Rome Moderne or The Most Beautiful Edifices of Modern Rome, or a Collection of the Most Beautiful Views of the Main Churches, Places, Plazas, Fountains etc., which are in Rome. The work was published in Rome by Bouchard & Gravier in 1763. Each engraving offers a stunning view of Rome very much in the style of Piranesi, but with Barbault offering different angles and views. the engravers for the work included Dominico Montagu, Giraud, and Freicenet. Jean Barbault (1718-1762) was a French painter, etcher, and print-maker. He worked predominantly in Rome and a disciple of Piranesi. He was noted for his work documenting Roman monuments and antiquities and paintings of local people and costumes.

Lot: 69807 - Milbert - Pair of Lithographed Views of New York

Included in this lot: View in Albany, House of the first Dutch Governors. 14 No Nomenclature Description of the work: 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: 69808 - Kollner, Rare - View of Congress Spring, Saratoga, New York

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: 69809 - Pare, pub. 1664 - Elephant

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: 69810 - Pare, pub. 1664 - Rhinoceros after Albrecht Durer

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: 69811 - Topsell, pub. 1658 - Arabian or Egyptian Land Crocodilie (or Alligator)

This early engraving is from Edward Topsell's The History of Serpents or The Theater of Insects: or, Lesser living Creatures. As Bees, Flies, Caterpillars, Spidrs, Worms, &c. a most Elaborate Work. This is from the second edition of the work and was published in London in 1658 by E. Cotes and G. Sawbridge. The works are considered part of the larger work entitled The History of Four-footed Beasts and Serpents. Edward Topsell (1572-1625) was an English author and clergyman. He wasn't a naturalist, and relied on other authorities including Konrad Gesner and Thomas Moffett to create his works. He wrote the epic treatise on zoology entitled The History of Four-footed Beasts and Serpents which explored real and fantastical animals. While mythical creatures and notions are part of Topsell's work, John Lienhard still describes it as "an early glimmer of modern science. For all its imperfection, it represents a vast collection of would-be observational data, and it even includes a rudimentary rule for sifting truth from supposition."

Lot: 69812 - Topsell, pub. 1658 - Chameleon

This early engraving is from Edward Topsell's The History of Serpents or The Theater of Insects: or, Lesser living Creatures. As Bees, Flies, Caterpillars, Spidrs, Worms, &c. a most Elaborate Work. This is from the second edition of the work and was published in London in 1658 by E. Cotes and G. Sawbridge. The works are considered part of the larger work entitled The History of Four-footed Beasts and Serpents. Edward Topsell (1572-1625) was an English author and clergyman. He wasn't a naturalist, and relied on other authorities including Konrad Gesner and Thomas Moffett to create his works. He wrote the epic treatise on zoology entitled The History of Four-footed Beasts and Serpents which explored real and fantastical animals. While mythical creatures and notions are part of Topsell's work, John Lienhard still describes it as "an early glimmer of modern science. For all its imperfection, it represents a vast collection of would-be observational data, and it even includes a rudimentary rule for sifting truth from supposition."

Lot: 69813 - Topsell, pub. 1658 - Boa or Man-eating Snake

This early engraving is from Edward Topsell's The History of Serpents or The Theater of Insects: or, Lesser living Creatures. As Bees, Flies, Caterpillars, Spidrs, Worms, &c. a most Elaborate Work. This is from the second edition of the work and was published in London in 1658 by E. Cotes and G. Sawbridge. The works are considered part of the larger work entitled The History of Four-footed Beasts and Serpents. Edward Topsell (1572-1625) was an English author and clergyman. He wasn't a naturalist, and relied on other authorities including Konrad Gesner and Thomas Moffett to create his works. He wrote the epic treatise on zoology entitled The History of Four-footed Beasts and Serpents which explored real and fantastical animals. While mythical creatures and notions are part of Topsell's work, John Lienhard still describes it as "an early glimmer of modern science. For all its imperfection, it represents a vast collection of would-be observational data, and it even includes a rudimentary rule for sifting truth from supposition."

Lot: 69814 - Topsell, pub. 1658 - Dragons

This early engraving is from Edward Topsell's The History of Serpents or The Theater of Insects: or, Lesser living Creatures. As Bees, Flies, Caterpillars, Spidrs, Worms, &c. a most Elaborate Work. This is from the second edition of the work and was published in London in 1658 by E. Cotes and G. Sawbridge. The works are considered part of the larger work entitled The History of Four-footed Beasts and Serpents. Edward Topsell (1572-1625) was an English author and clergyman. He wasn't a naturalist, and relied on other authorities including Konrad Gesner and Thomas Moffett to create his works. He wrote the epic treatise on zoology entitled The History of Four-footed Beasts and Serpents which explored real and fantastical animals. While mythical creatures and notions are part of Topsell's work, John Lienhard still describes it as "an early glimmer of modern science. For all its imperfection, it represents a vast collection of would-be observational data, and it even includes a rudimentary rule for sifting truth from supposition."

Lot: 69815 - Merian - 4 Dance of Death Engravings

This whimsical engraving is from Matthaeus Merian & Jacques-Anthony Chauvin's La danse des morts comme elle est dépeinte dans la louable et célèbre ville de Basle, pour servir de miroir de la nature humaine. The work was published in 1789 in Basel by Chez Jean Rod. Im-Hof & Fils. This is a French-German edition of the famous Dance of Death Merian published the most complete and reliable represenation of the Dance of Death, the famous Basel wall paintings. He first drew the Dance of Death in 1616 just after Emanuel Bock restored the mural. He constructed his engraving from this initial sketch. Matthaeus Merian (1593-1650) was part of an exceptional artistic family. He was an artist and engraver himself that was born in Switzerland, and received training in engraving in Zurich, Nancy, Paris, and Strasbourg. He settled in Frankfurt where he worked for Johann Theodor de Bry, another accomplished publisher, and married his daughter, Maria Magdelena de Bry. He was the father of Matthaeus the Younger and the celebrated naturalist and artist, Maria Sibylla Merian. He took over De Bry's published house upon his death in 1623, and became particularly noted for his town views due to their artistry and accuracy.

Lot: 69816 - Reibisch - 4 Dueling Knights Lithographs

This delightful lithograph is from Friederich Martin Von Reibisch’s Der Rittersaal, Eine Geschichte des Ritterthums, seines Entstehens und Fortgangs, seiner Gebrauche und Sitten or A History of the Development and Customs of Chivalry. The work was published in 1842 by C. Hoffmann in Stuttgart, Germany. Deutscher Rittersaal featured plates of arms and armor used by knights, assault-towers, knights in full armor on horse-back, and jousting scenes.

Lot: 69817 - Reibisch - 4 Dueling Knights on Horses Lithographs

This delightful lithograph is from Friederich Martin Von Reibisch’s Der Rittersaal, Eine Geschichte des Ritterthums, seines Entstehens und Fortgangs, seiner Gebrauche und Sitten or A History of the Development and Customs of Chivalry. The work was published in 1842 by C. Hoffmann in Stuttgart, Germany. Deutscher Rittersaal featured plates of arms and armor used by knights, assault-towers, knights in full armor on horse-back, and jousting scenes.

Lot: 69818 - Larmessin - Barber or Wig Maker Costume - Habit de Barbier Perruquier

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: 69819 - Ackermann's Repository of Arts - Volume Two with 177 Originally Hand-colored Fashion Engravings

These two volumes with 360 originally hand-colored fashion engravings is from Rudolph Ackermann’s Repository of Arts, Literature, Commerce, Manufacturers, Fashions, and Politics. The work was published in London by Ackermann between 1809 and 1829.The work was sent in issues that featured color prints on various subject that provide insight into early 19th century upper class England. This particular selection from the work has 360 originally hand-colored stipple and line engraved fashion plates. The illustrations represent some of the finest women's fashion plates of the late Georgian and Regency period. Types of dress illustrated include: full dress, morning dress, evening, walking, half, ball, carriage, promenade, dinner, bridal, and opera dresses.The work is handsomely bound in full green morocco with raised bands, ornate floral gilt toolin compartments, with all edges gilt. The title page is absent from the volumes. The binding was completed by Beford. Volume one features 183 plates published between 1809 and 1819. Volume two features 177 plates published between 1819 and 1828.

Lot: 69820 - Maitres Affiches by Cheret - Le Pays des Fees

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: 69821 - Maitres Affiches by Grasset - Exposition E. Grasset

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: 69822 - Maitres Affiches by Steinlen - Lait Pur Sterilise

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: 69823 - Seguy - Dragonflies. 9

This rare and remarkable pochoir illustration is from Emile Alain Seguy's Insectes. The folio plates were published in Paris in 1928 by Editions Duchartre et Van Buggenhoudt. The plates are beautifully composed and feature bold colors. The artist, Seguy, himself describes them as “repertoire of forms and of colors of a sumptuous richness and a surprising variety.” He wanted to record exotic specimens with a highly aesthetic appeal to inspire designers. His style was greatly influenced by the Art Nouveau and Art Deco movements. Seguy illustrated specimens from museums and private collections but presented them at 10 to 15 times magnification. In this way, he made stunning folio plates that revealed accurate intricacies of the specimens in a wonderful artistic and colorful display. The work illustrated several different kinds of insects including bees, wasps, cicadas, locusts, plant hoppers, grasshoppers, dragonflies, damselflies, and beetles such as scarabs and longhorn beetles. The insects were from specimens from all over the world including Africa, Australia, South America, Borneo, New Guinea, and Southeast Asia.

Lot: 69824 - Seguy - Beetles. 13

This rare and remarkable pochoir illustration is from Emile Alain Seguy's Insectes. The folio plates were published in Paris in 1928 by Editions Duchartre et Van Buggenhoudt. The plates are beautifully composed and feature bold colors. The artist, Seguy, himself describes them as “repertoire of forms and of colors of a sumptuous richness and a surprising variety.” He wanted to record exotic specimens with a highly aesthetic appeal to inspire designers. His style was greatly influenced by the Art Nouveau and Art Deco movements. Seguy illustrated specimens from museums and private collections but presented them at 10 to 15 times magnification. In this way, he made stunning folio plates that revealed accurate intricacies of the specimens in a wonderful artistic and colorful display. The work illustrated several different kinds of insects including bees, wasps, cicadas, locusts, plant hoppers, grasshoppers, dragonflies, damselflies, and beetles such as scarabs and longhorn beetles. The insects were from specimens from all over the world including Africa, Australia, South America, Borneo, New Guinea, and Southeast Asia.

Lot: 69825 - Mucha, Folio - Floral Design. 30

This stunning and rare lithograph is from Alphonse Mucha's Documents décoratifs. The work was published in Paris by Librairie Centrale des Beaux-Arts in 1902 and edited by Emile Levy. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewelry, kerosene lamps, cutlery, posters, furniture, and illustrations for books. Mucha "illustrates the process of stylisation and simplification that transforms a drawing from nature to an object for practical use [...] The compatibility of design and material is emphasized in applications of an identical motif on tableware, lace or jewelry. Examples for graphic artists include studies of nude or draped figures and of heads. Mucha's drawings and applied designs show virtuosity that surpasses technical ability. The publication was considered an invaluable textbook for artisans and designers and was used by art students in France and abroad, including Russia." (V. Arwas et al. Alphonse Mucha The Spirit of Art Nouveau (Alexandria, VA: 1998), p.310) Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement.

Lot: 69826 - Mucha, Folio - Floral Design. 33

This stunning and rare lithograph is from Alphonse Mucha's Documents décoratifs. The work was published in Paris by Librairie Centrale des Beaux-Arts in 1902 and edited by Emile Levy. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewelry, kerosene lamps, cutlery, posters, furniture, and illustrations for books. Mucha "illustrates the process of stylisation and simplification that transforms a drawing from nature to an object for practical use [...] The compatibility of design and material is emphasized in applications of an identical motif on tableware, lace or jewelry. Examples for graphic artists include studies of nude or draped figures and of heads. Mucha's drawings and applied designs show virtuosity that surpasses technical ability. The publication was considered an invaluable textbook for artisans and designers and was used by art students in France and abroad, including Russia." (V. Arwas et al. Alphonse Mucha The Spirit of Art Nouveau (Alexandria, VA: 1998), p.310) Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement.

Lot: 69827 - Mucha, Folio - Dressed Woman & Branch Design. 8

This stunning and rare lithograph is from Alphonse Mucha's Documents décoratifs. The work was published in Paris by Librairie Centrale des Beaux-Arts in 1902 and edited by Emile Levy. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewelry, kerosene lamps, cutlery, posters, furniture, and illustrations for books. Mucha "illustrates the process of stylisation and simplification that transforms a drawing from nature to an object for practical use [...] The compatibility of design and material is emphasized in applications of an identical motif on tableware, lace or jewelry. Examples for graphic artists include studies of nude or draped figures and of heads. Mucha's drawings and applied designs show virtuosity that surpasses technical ability. The publication was considered an invaluable textbook for artisans and designers and was used by art students in France and abroad, including Russia." (V. Arwas et al. Alphonse Mucha The Spirit of Art Nouveau (Alexandria, VA: 1998), p.310) Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement.

Lot: 69828 - Mucha, Folio - Draped Woman. 6

This stunning and rare lithograph is from Alphonse Mucha's Documents décoratifs. The work was published in Paris by Librairie Centrale des Beaux-Arts in 1902 and edited by Emile Levy. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewelry, kerosene lamps, cutlery, posters, furniture, and illustrations for books. Mucha "illustrates the process of stylisation and simplification that transforms a drawing from nature to an object for practical use [...] The compatibility of design and material is emphasized in applications of an identical motif on tableware, lace or jewelry. Examples for graphic artists include studies of nude or draped figures and of heads. Mucha's drawings and applied designs show virtuosity that surpasses technical ability. The publication was considered an invaluable textbook for artisans and designers and was used by art students in France and abroad, including Russia." (V. Arwas et al. Alphonse Mucha The Spirit of Art Nouveau (Alexandria, VA: 1998), p.310) Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement.

Lot: 69829 - Foujita, Rare: Domestic Cat Illustration: Aholibah

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: 69830 - Miro, Signed, rare - Illustration of the Childhood of Ubu

This whimsical color lithograph is from Joan Miro's L'Enfance d'Ubu or Ubu's Childhood. The work was published by Tériade in Paris in 1975. This was from a limited edition of 120 printed to Arches paper, of which this was numbered 4 on the justification page. Most of the lithographs for this work were signed in pencil by Miro. The illustratons were inspired by the French playwright Alfred Jarry (1873-1907) and his plays Ubu Roi, Ubu Cocu, and Ubu Enchaîné. Miro felt inspired by the plays and brought childhood to life with fantastic colors, shapes, and imagination. Joan Miro (1893-1983) was a Catalan artist that produced paintings, ceramics, sculptures, engravings, murals, and prints. His art was considered modernist and moved 20th century art toward abstraction. He is often considered an early Surrealist and also a pioneer of automatism (spontaneous drawing that reflected the inner human psyche). His visuals included expressive lines, signature symbols, and biomorphic shapes. He influenced artists including Jackson Pollock, Mark Rothko, and Barnett Newman. Miro continued to work up until his death in 1983 and said of his later work "I painted these paintings in a frenzy, with real violence so that people will know that I am alive, that I’m breathing, that I still have a few more places to go. I’m heading in new directions." His work has sold for upwards of eight figures at auction. His art is in the permanent collections of MOMA and the Art Institute of Chicago as well as displayed around the world in cites such as Barcelona, Paris, and Milan.

Lot: 69831 - Lewis - Kitch-Ee-I-Aa-Ba or the Big Buck, A Chippewa 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: 69832 - Lewis - O-Hya-Wa-Nim-Ce-Kee or The Yellow Thunder, A Chippeway 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: 69833 - Lewis - Pach-E-Po, 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: 69834 - Lewis - A Sioux 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: 69835 - Lewis - Men-Dow-Min or The Corn, A Chippewa Dwarf

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: 69836 - Karl Bodmer - Beaver Hut, on the Missouri. 17

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 he 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: 69837 - Karl Bodmer - Chief of the Blood-Indians, War-Chief of the Piekann Indians, Koutani Indian. 46

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 does not have 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: 69838 - Catlin, On Card - Dying Buffalo Bull, in Snow Drift

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

Lot: 69839 - Catlin, On Card - Buffalo Hunt, Chase

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

Lot: 69840 - Edward Curtis - Feast Day at Acoma. 565

This moving photogravure is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 1926 in Cambridge, Massachusetts. This was part of # 198 of a proposed edition of 500 (though about 272 sets are believed to be completed). The photogravures depict Native Americans from the Tiwa and Keres cultures. Curtis's work was a remarkable record of native American life and one of the most ambitious anthropological studies done. W. H. Holmes, Chief of the Bureau of American Ethnology in 1910, stated that this "publication should last for a thousand years." The North American Indian was referred to as “the most gigantic undertaking since the making of the King James Edition of the Bible” and containing “the most exquisite book art of our time.” Edward Sheriff Curtis (1868-1952) was an American photographer and ultimately historian of the American West. He travelled extensively for three decades living with the Native American tribes. He immersed himself in their customs, languages and beliefs. He detailed and photographed the tribes creating a truly comprehensive look into their lives.

Lot: 69841 - Edward Curtis - Taos Water Girls. 544

This moving photogravure is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 1926 in Cambridge, Massachusetts. This was part of # 198 of a proposed edition of 500 (though about 272 sets are believed to be completed). The photogravures depict Native Americans from the Tiwa and Keres cultures. Curtis's work was a remarkable record of native American life and one of the most ambitious anthropological studies done. W. H. Holmes, Chief of the Bureau of American Ethnology in 1910, stated that this "publication should last for a thousand years." The North American Indian was referred to as “the most gigantic undertaking since the making of the King James Edition of the Bible” and containing “the most exquisite book art of our time.” Edward Sheriff Curtis (1868-1952) was an American photographer and ultimately historian of the American West. He travelled extensively for three decades living with the Native American tribes. He immersed himself in their customs, languages and beliefs. He detailed and photographed the tribes creating a truly comprehensive look into their lives.

Lot: 69842 - Kircher, pub. 1682 - Mount Vesuvius Erupting

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: 69843 - Hamilton & Fabris - View of the Lake of Avernus taken from the road between Puzzoli, and Cuma

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: 69844 - Hamilton & Fabris - View of the island of Stromboli taken by Monsieur Fabris on his return from Sicily with the Author

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: 69845 - David Roberts - 4 Lithographs of Views in Thebes & Karnak

Included in this lot: Medinet Abou, Thebes Ruins of the Memnonium, Thebes Entrance of the Temple of Amun, Thebes Karnak Description of the work: 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: 69846 - David Roberts - Fragments of the Great Colossi, at the Memnonium

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: 69847 - David Roberts - Ruins 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: 69848 - David Roberts - Pyramids of Geezeh

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: 69849 - Aspin - 6 Constellation Charts

This originally hand-colored celestial engraving on card is from Jehoshaphat Aspin's Urania's Mirror or a View of the Heavens.... The work was published in London by Samuel Leigh at the Strand in 1825. The engravings for the work were done by Sidney Hall. Each card features pin holes used to locate star positions.

Lot: 69850 - Bode - Constellation: Swan (Cygnus), Lyre (Lyra). 11

This first edition celestial engraving is from Johann Elert Bode's Die Gestirne or The Stars. The work was published in Berlin in 1782. The plates were engraved by Daniel Berger. Johann Elert Bode (1747-1826) was a German royal astronomer and director of Berlin's astronomical observatory. "His star maps, the representation of the stars in 34 sheets, are among the best star maps anyone had." (ADB III, 1) "His two star atlases were for a long time indispensable tools for astronomers. [... It] contained more than 5,000 stars." (DSB II, 220)

Lot: 69851 - Bode - Constellation: Draco (Dragon), Cassiopeia, Cepheus. 2

This first edition celestial engraving is from Johann Elert Bode's Die Gestirne or The Stars. The work was published in Berlin in 1782. The plates were engraved by Daniel Berger. Johann Elert Bode (1747-1826) was a German royal astronomer and director of Berlin's astronomical observatory. "His star maps, the representation of the stars in 34 sheets, are among the best star maps anyone had." (ADB III, 1) "His two star atlases were for a long time indispensable tools for astronomers. [... It] contained more than 5,000 stars." (DSB II, 220)

Lot: 69852 - Bode - Constellation: Perseus, Andromeda. 3

This first edition celestial engraving is from Johann Elert Bode's Die Gestirne or The Stars. The work was published in Berlin in 1782. The plates were engraved by Daniel Berger. Johann Elert Bode (1747-1826) was a German royal astronomer and director of Berlin's astronomical observatory. "His star maps, the representation of the stars in 34 sheets, are among the best star maps anyone had." (ADB III, 1) "His two star atlases were for a long time indispensable tools for astronomers. [... It] contained more than 5,000 stars." (DSB II, 220)

Lot: 69853 - Bode - Constellation: Hercules, Crown. 8

This first edition celestial engraving is from Johann Elert Bode's Die Gestirne or The Stars. The work was published in Berlin in 1782. The plates were engraved by Daniel Berger. Johann Elert Bode (1747-1826) was a German royal astronomer and director of Berlin's astronomical observatory. "His star maps, the representation of the stars in 34 sheets, are among the best star maps anyone had." (ADB III, 1) "His two star atlases were for a long time indispensable tools for astronomers. [... It] contained more than 5,000 stars." (DSB II, 220)

Lot: 69854 - Bode - Constellation: Crab (Cancer). 16

This first edition celestial engraving is from Johann Elert Bode's Die Gestirne or The Stars. The work was published in Berlin in 1782. The plates were engraved by Daniel Berger. Johann Elert Bode (1747-1826) was a German royal astronomer and director of Berlin's astronomical observatory. "His star maps, the representation of the stars in 34 sheets, are among the best star maps anyone had." (ADB III, 1) "His two star atlases were for a long time indispensable tools for astronomers. [... It] contained more than 5,000 stars." (DSB II, 220)

Lot: 69855 - Bode - Constellation: Bull (Taurus). 14

This first edition celestial engraving is from Johann Elert Bode's Die Gestirne or The Stars. The work was published in Berlin in 1782. The plates were engraved by Daniel Berger. Johann Elert Bode (1747-1826) was a German royal astronomer and director of Berlin's astronomical observatory. "His star maps, the representation of the stars in 34 sheets, are among the best star maps anyone had." (ADB III, 1) "His two star atlases were for a long time indispensable tools for astronomers. [... It] contained more than 5,000 stars." (DSB II, 220)

Lot: 69856 - Wilkes - Vincennes in Disappointment Bay

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

Lot: 69857 - Wilkes - Sydney (New Holland or Australia)

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

Lot: 69858 - Wilkes - Samoan Dance

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

Lot: 69859 - Wilkes - Corrobory Dance (New Holland or Australia)

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

Lot: 69860 - Wilkes - Map of the Settled Part of New South Wales, 1840 (New Holland or Australia)

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

Lot: 69861 - La Perouse - Pair of Maps of the North West Coast of America

Included in this lot: Chart of the North West Coast of America Chart of Part of the North West Coast of America Description of the work: This first edition engraving is from Jean Francois de Galaup La Perouse's Atlas du Voyage de La Perouse It was printed in London by G.G. & J. Robinson between 1798 and 1799. A fine copy of this engraving from Robinson's edition "usually considered to be the best one in English ... [and is] extremely rare" (Hill), picturing and charting La Perouse's ill-fated voyage round the world. "La Pérouse's expedition was one of the most important scientific explorations ever undertaken to the Pacific and the west coast of North America ... The charge to the expedition [which took place between 1785 and 1788] was to examine such parts of the region as had not been explored by Captain Cook; to seek for an interoceanic passage; to make scientific observations on the various countries, peoples, and products; to obtain reliable information about the fur trade and the extent of Spanish settlements in California; and to promote the inducements for French enterprise in that quarter ... La Pérouse and his men did important geographical research ... The voyage also included the first foreign scientific group ever to visit Alta California [two of the plates depict a beeeater and a male and female partridge of California. There are also maps and plans of San Francisco, Monterery, and San Diego] ... La Pérouse sent dispatches back to France from Kamchatka and Botany Bay. The two ships then set sail from Botany Bay, in 1788, and were never heard from again." (Hill) When it became clear that something had happened to the expedition, a decision was made to publish the journals he had transmitted home. It was not until the 1820s that the wrecks of his ships were discovered on a reef in the Santa Cruz group. La Perouse's voyage is notable for its superb mapping of the Alaskan and California coasts, including maps of San Diego, Monterey, and the whole Northwest Coast. The atlas also contained numerous interesting views on the coast, and in California and the Pacific, as well as botanical and natural history plates.

Lot: 69862 - La Perouse - 3 Maps of Discoveries near Japan, China, & Tartary

Included in this lot: Chart of the Discoveries made in 1787 in the Seas of China and Tartary, sheet 1 Chart of the Discoveries made in 1787 in the Seas of China and Tartary, sheet 2 Chart of the Discoveries to the North of Japan Description of the work: This first edition engraving is from Jean Francois de Galaup La Perouse's Atlas du Voyage de La Perouse It was printed in London by G.G. & J. Robinson between 1798 and 1799. A fine copy of this engraving from Robinson's edition "usually considered to be the best one in English ... [and is] extremely rare" (Hill), picturing and charting La Perouse's ill-fated voyage round the world. "La Pérouse's expedition was one of the most important scientific explorations ever undertaken to the Pacific and the west coast of North America ... The charge to the expedition [which took place between 1785 and 1788] was to examine such parts of the region as had not been explored by Captain Cook; to seek for an interoceanic passage; to make scientific observations on the various countries, peoples, and products; to obtain reliable information about the fur trade and the extent of Spanish settlements in California; and to promote the inducements for French enterprise in that quarter ... La Pérouse and his men did important geographical research ... The voyage also included the first foreign scientific group ever to visit Alta California [two of the plates depict a beeeater and a male and female partridge of California. There are also maps and plans of San Francisco, Monterery, and San Diego] ... La Pérouse sent dispatches back to France from Kamchatka and Botany Bay. The two ships then set sail from Botany Bay, in 1788, and were never heard from again." (Hill) When it became clear that something had happened to the expedition, a decision was made to publish the journals he had transmitted home. It was not until the 1820s that the wrecks of his ships were discovered on a reef in the Santa Cruz group. La Perouse's voyage is notable for its superb mapping of the Alaskan and California coasts, including maps of San Diego, Monterey, and the whole Northwest Coast. The atlas also contained numerous interesting views on the coast, and in California and the Pacific, as well as botanical and natural history plates.

Lot: 69863 - Schedel, pub. 1493 - Menorah

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle. This is the first edition / printing of the work. It is the Latin edition that was published 6 months prior to the German edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities.

Lot: 69864 - Schedel, pub. 1493 - Plans for Solomon's Temple

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle. This is the first edition / printing of the work. It is the Latin edition that was published 6 months prior to the German edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities.

Lot: 69865 - Schedel, pub. 1493 - The Martyrdom of Simon of Trent

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle. This is the first edition / printing of the work. It is the Latin edition that was published 6 months prior to the German edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities.

Lot: 69866 - Schedel, pub. 1493 - Moses and Joshua descend from Mount Sinai with the tablets of the Law broken and found the Israelites worshiping the golden fleece

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle. This is the first edition / printing of the work. It is the Latin edition that was published 6 months prior to the German edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities.

Lot: 69867 - Schedel, pub. 1493 - The Last Judgement (Ultima etas mundi)

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle. This is the first edition / printing of the work. It is the Latin edition that was published 6 months prior to the German edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities.

Lot: 69868 - Munster, pub. 1544 - Map of Italy, Sardinia, & Sicily

This very old woodcut is from Sebastian Munster's Cosmographey. It was published in Basel in 1544. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 69869 - Munster, pub. 1544 - Map of Greece, Romania, Turkey

This very old woodcut is from Sebastian Munster's Cosmographey. It was published in Basel in 1544. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 69870 - Munster, pub. 1544 - Map of Taprobana & Elephant Inset

This very old woodcut is from Sebastian Munster's Cosmographey. It was published in Basel in 1544. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 69871 - Munster, pub. 1544 - Map of Africa

This very old woodcut is from Sebastian Munster's Cosmographey. It was published in Basel in 1544. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 69872 - Munster, pub. 1544 - Map of India (Asia)

This very old woodcut is from Sebastian Munster's Cosmographey. It was published in Basel in 1544. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 69873 - Munster, pub. 1544 - Map of the Americas

This very old woodcut is from Sebastian Munster's Cosmographey. It was published in Basel in 1544. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 69874 - De Wit - Map of Brazil with part of Paraguay

This remarkable folio engraving from a composite atlas of maps from Frederick De Wit. It was published in Amsterdam after 1688. It features original hand-coloring. De Wit published composite atlases using plate stock of his own and other Amsterdam map publishers. This included maps from the likes of Hondius, Bleau, and Visscher. "The De Wit composite or 'dual-purpose' atlas is an early example of an atlas planned at its outset to serve as a land and a sea atlas in one. Koeman lists these works according to the number of maps and by and large this progression gives a fair idea of their development and therefore dates, beginning in the early 1660s. But he acknowledges it is not accurate and often subject to revised opinion. The index is quite unlike any of those listed in Koeman." (Wardington Catalogue) Frederik De Wit (1629-1706) created a leading publishing firm in Amsterdam during the golden age of Dutch cartography. He was a catographer and mapseller that was best known for his atlases and his Dutch town maps. After De Wit's passing his wife, Maria, ran the shop for a few years before selling. At this point, most of his plates went to Pieter Mortier.

Lot: 69875 - Ortelius - Map of Tuscany, Italy

This stunning folio map is from Abraham Ortelius's Theatrum Orbis Terrarum - Parergon - Nomenclator Ptolemaicus. The work was published in Antwerp by Christoph Plantin Press 1579 [1584]. The work was first published in 1570 and this is the second Latin edition printed by Plantin. The engraved map features Latin text to verso and exquisite original hand-coloring. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain. Provenance: Count Romualdo Vialardi (handwritten inscription on the back of the last page), from an ancient Lombard family dating back to the 11th century.

Lot: 69876 - Ortelius - Map of Naples, Italy

This stunning folio map is from Abraham Ortelius's Theatrum Orbis Terrarum - Parergon - Nomenclator Ptolemaicus. The work was published in Antwerp by Christoph Plantin Press 1579 [1584]. The work was first published in 1570 and this is the second Latin edition printed by Plantin. The engraved map features Latin text to verso and exquisite original hand-coloring. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain. Provenance: Count Romualdo Vialardi (handwritten inscription on the back of the last page), from an ancient Lombard family dating back to the 11th century.

Lot: 69877 - Ortelius - Map of Crete, Corsica, Sardinia

This stunning folio map is from Abraham Ortelius's Theatrum Orbis Terrarum - Parergon - Nomenclator Ptolemaicus. The work was published in Antwerp by Christoph Plantin Press 1579 [1584]. The work was first published in 1570 and this is the second Latin edition printed by Plantin. The engraved map features Latin text to verso and exquisite original hand-coloring. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain. Provenance: Count Romualdo Vialardi (handwritten inscription on the back of the last page), from an ancient Lombard family dating back to the 11th century.

Lot: 69878 - Ortelius - Map of Romania

This stunning folio map is from Abraham Ortelius's Theatrum Orbis Terrarum - Parergon - Nomenclator Ptolemaicus. The work was published in Antwerp by Christoph Plantin Press 1579 [1584]. The work was first published in 1570 and this is the second Latin edition printed by Plantin. The engraved map features Latin text to verso and exquisite original hand-coloring. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain. Provenance: Count Romualdo Vialardi (handwritten inscription on the back of the last page), from an ancient Lombard family dating back to the 11th century.

Lot: 69879 - Ortelius - Map of China

This stunning folio map is from Abraham Ortelius's Theatrum Orbis Terrarum - Parergon - Nomenclator Ptolemaicus. The work was published in Antwerp by Christoph Plantin Press 1579 [1584]. The work was first published in 1570 and this is the second Latin edition printed by Plantin. The engraved map features Latin text to verso and exquisite original hand-coloring. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain. Provenance: Count Romualdo Vialardi (handwritten inscription on the back of the last page), from an ancient Lombard family dating back to the 11th century.

Lot: 69880 - Ortelius - Map of Tartary, Japan, Alaska and the Northern Pacific

This stunning folio map is from Abraham Ortelius's Theatrum Orbis Terrarum - Parergon - Nomenclator Ptolemaicus. The work was published in Antwerp by Christoph Plantin Press 1579 [1584]. The work was first published in 1570 and this is the second Latin edition printed by Plantin. The engraved map features Latin text to verso and exquisite original hand-coloring. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and myhtological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain. Provenance: Count Romualdo Vialardi (handwritten inscription on the back of the last page), from an ancient Lombard family dating back to the 11th century.

Lot: 69881 - Ligon - Map of Barbados (A Topographicall Description and Admeasurement of the YLAND of BARBADOS in the West INYDAES With the Mr.s names of the Severall plantacons)

This first edition, engraved map from Richard Ligon is entitled A Topographicall Description and Admeasurement of the YLAND of BARBADOS in the West INYDAES With the Mr.s names of the Severall plantacons. The map was published as part of Ligon's work True and Exact Historie of the Island of Barbadoes. The work was published in London by Humphrey Moseley in 1657. This is the earliest printed map dedicated exclusively to the island of Barbados. The map is detailed with camels, chivalric knights on horseback, stylized figures of indigenous men, as well as cows, boars, and sheep. Ligon based the map on information from Captain John Swan, the leading surveyor of the island at the time. The outline is pretty accurate, though a third longer than correct length. There are 285 plantations identified by the owner's name. Fortifications are shown at Carlisle Bay protecting the main island location of Bridgetown. Near the center of the island is notated “the tenn Thousande Acres of Lande which Belongeth to the Merchants of London.” This referenced the lease of the land to Lord Carlisle after Sir William Courteen's grant was rescinded by Charles I. Most of the animals depicted were brought to the island by English settlers. The boars were introduced by the Portuguese people. While camels were useful on the plantations, Ligon noted, “several planters imported these beasts and found them useful in Barbados, but did not know how to diet them.”

Lot: 69882 - Carver - A Plan of Captain Carver's Travels in the interior parts of North America in 1766 and 1767

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: 69883 - Van Houtte - 4 Camellia 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: 69884 - Van Houtte - Pair of 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: 69885 - Van Houtte - Pair of Passion Flower 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: 69886 - Van Houtte - 3 Water Lily Prints

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

Lot: 69887 - Van Houtte - 4 Lady's Slipper 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: 69888 - Linden - 6 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: 69889 - Nodder, Watercolors - 5 Reptiles or Ambibians

Included in this lot: Basilisk. 142 Broad-tailed Lizard. 65 Single-Striped Lizard. 89 Toad of Surinam or Pipa. 17 Horned Frog. 76 Description of the work: This is a truly special combined watercolor and engraved plate presentation from Naturalist's Miscellany. The work was done by George Shaw & Frederick Nodder and published in London from 1789 to 1813. This plate / watercolor were completed prior to 1859 based on the prior owner's hand written labels dating June 1859 to endpapers. The engravings are on the Whatman watermarked paper often with contemporary caption in pencil or ink with added watercolor backgrounds or colorations and hand-drawn or washed borders. The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. The 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. 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: 69890 - Oken - 7 Sea Life Lithographs (Ray, Shark, Fish, Salamander ,Coral, Sanddollar, Axolotl)

This natural history lithograph is from Lorenz Oken's Abbildungen zu Oken's allgemeiner Naturgeschichte fur alle Stande. The work was published in 1843 in Stuttgart by Hoffman. The illustrations for this work were done by Johann Susemihl. It was a "once well-known and widely distributed popular natural history [work]." (Anker 375) Lorenz Okenfuss [Oken] (1779-1851) was a German naturalist, botanist, biologist, and ornithologist. He applied the philosophical principles of Immanuel Kant to his studies in the physical sciences. He served as a member of the Royal Sweedish Academy of Sciences.

Lot: 69891 - Oken - 3 Water or Shore Bird Lithographs (Pelican, Penguin, Flamingo, Ibis, Heron, Spoonbill, Moorhen)

This natural history lithograph is from Lorenz Oken's Abbildungen zu Oken's allgemeiner Naturgeschichte fur alle Stande. The work was published in 1843 in Stuttgart by Hoffman. The illustrations for this work were done by Johann Susemihl. It was a "once well-known and widely distributed popular natural history [work]." (Anker 375) Lorenz Okenfuss [Oken] (1779-1851) was a German naturalist, botanist, biologist, and ornithologist. He applied the philosophical principles of Immanuel Kant to his studies in the physical sciences. He served as a member of the Royal Sweedish Academy of Sciences.

Lot: 69892 - Oken - 5 Bird Lithographs (Hoopoe, Bird of Paradise, Pigeon, Woodpecker, Roller, Parrot, Toucahn, Hornbill)

This natural history lithograph is from Lorenz Oken's Abbildungen zu Oken's allgemeiner Naturgeschichte fur alle Stande. The work was published in 1843 in Stuttgart by Hoffman. The illustrations for this work were done by Johann Susemihl. It was a "once well-known and widely distributed popular natural history [work]." (Anker 375) Lorenz Okenfuss [Oken] (1779-1851) was a German naturalist, botanist, biologist, and ornithologist. He applied the philosophical principles of Immanuel Kant to his studies in the physical sciences. He served as a member of the Royal Sweedish Academy of Sciences.

Lot: 69893 - Buffon - Peacock

This engraving is from Georges Louis Leclerc, Comte de Buffon's Histoire naturelle. The work was published in Paris by Hotel de Thou in 1788. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible."

Lot: 69894 - Buffon - Pair of Owl Engravings

This engraving is from Georges Louis Leclerc, Comte de Buffon's Histoire naturelle. The work was published in Paris by Hotel de Thou in 1788. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible."

Lot: 69895 - Buffon - Pair of Giraffe Engravings

This engraving is from Georges Louis Leclerc, Comte de Buffon's Histoire naturelle. The work was published in Paris by Hotel de Thou in 1788. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible."

Lot: 69896 - Buffon - Pair of Elephant Engravings

This engraving is from Georges Louis Leclerc, Comte de Buffon's Histoire naturelle. The work was published in Paris by Hotel de Thou in 1788. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible."

Lot: 69897 - Bloch, Folio - Pair of Fish Engravings (Pour or Gadus & Blowfish or Tetrodon

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: 69898 - Bloch, Folio - Plumier's Mackrel; Scomber Plumieri. 344

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: 69899 - Bloch, Folio - Pair of Fish Engravings

Included in this lot: Tobacco-Pipe-Fish; Fistularia Tabacaria. 387 Trumpet; Fistularia Chinensis. 388 Description of the work: 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: 69900 - Audubon - Grey Rabbit. 22

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: 69901 - Audubon - Wolverine. 26

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: 69902 - Audubon - Large-tailed Skunk. 102

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: 69903 - Audubon - Canada Otter. 122

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: 69904 - Audubon - Cinnamon Bear. 127

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: 69905 - Audubon - 9 Shore or Water Bird Lithographs

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: 69906 - Audubon - 4 Bird Lithographs

Included in this lot: Hudson's Bay Titmouse. 128 Chestnut-backed Titmouse. 129 Cuvier's Kinglet. 131 Ruby-crowned Kinglet. 133 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: 69907 - Audubon - 5 Bird Lithographs

Included in this lot: Carbonated Swamp-Warbler. 109 Maryland Ground-Warbler. 102 Yellow Red-poll Wood-Warbler. 90 Arkansaw Goldfinch. 183 Hooded Flycatching Warbler. 71 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: 69908 - Audubon - 4 Woodpecker Lithographs

Included in this lot: Arctic three-toed Woodpecker. 268 Lewis' Woodpecker. 272 Banded three-toed Woodpecker. 269 Red-bellied Woodpecker. 270 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: 69909 - Edwards - Horned Owl. 227

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: 69910 - Albin - Goldfinch. 64

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: 69911 - Albin - Bengall Bee-Eater. 30

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: 69912 - Albin - White China Pheasant. 37

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: 69913 - Albin - Greatest speckled Diver or Loon. 82

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: 69914 - Albin - Bittern. 68

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: 69915 - Albin - Purple Bird. 84

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: 69916 - Kirby - 8 Butterfly Lithographs

This attractive butterfly lithograph is from W. F. Kirby & H. Grose Smith's Rhopalocera Exotica, being Illustrations of New, Rare, and Unfigured Species of Butterflies. The work was published in London by Gurney & Jackson between 1887 and 1902. Each lithograph features original hand-finished coloring. "The present work is designed to illustrate some of the rarer and more beautiful new species of butterflies which are continually being sent to Europe from all parts of the world by travellers and missionaries, as well as professional collectors, and it may be regarded as supplementary to late Mr. Hewitson's 'Exotic Butterflies', and 'Illustrations of Diurnal Lepidoptera' . The insects figured and described in this volume are chiefly selected from the Collection of Mr. Grose Smith, and with a very few exceptions have not been previously figured." (From the Preface) Some of the butterflies were also drawn from the collections of W. Rothschild, Staudinger, and Hewitson.

Lot: 69917 - Dononvan - Dragonflies. 46

This engraving is from Edward Donovan’s work Natural History of the Insects of India, containing upwards of two hundred and twenty figures and description. The work was published in London in 1842 by J. O. Westwood and Henry G. Bohn. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, and engraving. His artistic hand created some of the finest engravings. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. He drew his images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 69918 - Dononvan - Dragonflies. 45

This engraving is from Edward Donovan’s work Natural History of the Insects of India, containing upwards of two hundred and twenty figures and description. The work was published in London in 1842 by J. O. Westwood and Henry G. Bohn. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, and engraving. His artistic hand created some of the finest engravings. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. He drew his images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 69919 - Dononvan - Butterflies. 24

This engraving is from Edward Donovan’s work Natural History of the Insects of India, containing upwards of two hundred and twenty figures and description. The work was published in London in 1842 by J. O. Westwood and Henry G. Bohn. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, and engraving. His artistic hand created some of the finest engravings. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. He drew his images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 69920 - Dononvan - Butterfly. 23

This engraving is from Edward Donovan’s work Natural History of the Insects of India, containing upwards of two hundred and twenty figures and description. The work was published in London in 1842 by J. O. Westwood and Henry G. Bohn. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, and engraving. His artistic hand created some of the finest engravings. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. He drew his images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 69921 - Dononvan - Moths. 44

This engraving is from Edward Donovan’s work Natural History of the Insects of India, containing upwards of two hundred and twenty figures and description. The work was published in London in 1842 by J. O. Westwood and Henry G. Bohn. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, and engraving. His artistic hand created some of the finest engravings. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. He drew his images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 69922 - Dononvan - Atlas Moth. 42

This engraving is from Edward Donovan’s work Natural History of the Insects of India, containing upwards of two hundred and twenty figures and description. The work was published in London in 1842 by J. O. Westwood and Henry G. Bohn. Edward Donovan was involved in all the steps of creating the illustrations in his works from the drawing, etching, and engraving. His artistic hand created some of the finest engravings. Donovan was an avid natural history collector, fellow of the Linnean Society and the Wernerian Natural History Society. He also opened his own private museum in 1807, the London Museum and Institute of Natural History. He drew his images himself from his own museum as well as the collections of Sir Joseph Banks & Dru Drury.

Lot: 69923 - Seba - Snakes, Frog, & Plants. 13

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

Lot: 69924 - Seba - Snakes, Lizards. 76

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

Lot: 69925 - Seba - Snakes, Birds, Frog or Toad, and Plants. 70

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

Lot: 69926 - Seba - Snakes & Flower. 99

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

Lot: 69927 - Thornton - Tankerville's Limodorum

This strong quarto botanical plate is from Dr. Robert Thornton’s The Temple of Flora. The plate was published by Thornton as part of the 1812 Lottery edition. The Temple of Flora, both the folio and Lottery editions, are considered to be one of the most extraordinary botanical works. The publishing of the folio edition of this work bankrupted Dr. Thornton, and thus led him to creating the Great Botanical Lottery and the plates from the edition seen here. The Lottery was unfortunately not a success and Thornton could not continue further publication of the work. Though the work did not have financial success in its time, it remains one of the greatest botanical works ever published. Each plate was created using several printing processes including mezzotint, aquatint, engraving, etching, and stipple. The plates were printed in color and then finished by hand at the time of printing. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. Temple of Flora is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for Temple of Flora. Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 69928 - Thornton - American Cowslip

This strong quarto botanical plate is from Dr. Robert Thornton’s The Temple of Flora. The plate was published by Thornton as part of the 1812 Lottery edition. The Temple of Flora, both the folio and Lottery editions, are considered to be one of the most extraordinary botanical works. The publishing of the folio edition of this work bankrupted Dr. Thornton, and thus led him to creating the Great Botanical Lottery and the plates from the edition seen here. The Lottery was unfortunately not a success and Thornton could not continue further publication of the work. Though the work did not have financial success in its time, it remains one of the greatest botanical works ever published. Each plate was created using several printing processes including mezzotint, aquatint, engraving, etching, and stipple. The plates were printed in color and then finished by hand at the time of printing. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. Temple of Flora is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for Temple of Flora. Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 69929 - Thornton - The Blue Passion Flower

This strong quarto botanical plate is from Dr. Robert Thornton’s The Temple of Flora. The plate was published by Thornton as part of the 1812 Lottery edition. The Temple of Flora, both the folio and Lottery editions, are considered to be one of the most extraordinary botanical works. The publishing of the folio edition of this work bankrupted Dr. Thornton, and thus led him to creating the Great Botanical Lottery and the plates from the edition seen here. The Lottery was unfortunately not a success and Thornton could not continue further publication of the work. Though the work did not have financial success in its time, it remains one of the greatest botanical works ever published. Each plate was created using several printing processes including mezzotint, aquatint, engraving, etching, and stipple. The plates were printed in color and then finished by hand at the time of printing. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. Temple of Flora is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for Temple of Flora. Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 69930 - Thornton - Group of Carnations

This strong quarto botanical plate is from Dr. Robert Thornton’s The Temple of Flora. The plate was published by Thornton as part of the 1812 Lottery edition. The Temple of Flora, both the folio and Lottery editions, are considered to be one of the most extraordinary botanical works. The publishing of the folio edition of this work bankrupted Dr. Thornton, and thus led him to creating the Great Botanical Lottery and the plates from the edition seen here. The Lottery was unfortunately not a success and Thornton could not continue further publication of the work. Though the work did not have financial success in its time, it remains one of the greatest botanical works ever published. Each plate was created using several printing processes including mezzotint, aquatint, engraving, etching, and stipple. The plates were printed in color and then finished by hand at the time of printing. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. Temple of Flora is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for Temple of Flora. Thornton's The Temple of Flora is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 69931 - Duhamel, Poiteau, & Turpin - Pair of Strawberry Engravings

This stunning fruit engraving is from Henri Louis Duhamel du Monceau's Traité des arbres fruitiers [...] Nouvelle édition, augmentée d'un grand nombre d'espèces de fruits obtenus des progrès de la culture, par A. Poiteau et P.J.F. Turpin. The work was published in Paris and Strasbourg between 1808 and 1835 by Levrault. The work was first published in 1768, but it would be more accurate to view this new edition as its own independent work with the illustrations from Poiteau and Turpin. The work is considered "one of the finest and rares books on fruit, with many beautiful plates." (Dunthorne) Duhamel authored the work as a practical manual to cultivate and increase consumption of fruit. The work described and illustrated almonds, peaches, nectarines, grapes, many kinds of berries, pears, and apples. The engravings were completed by Victor, Bouquet, Gabriel, Giraud, and others. They were printed by Langlois. Each engraving was printed in color with original hand-finishing. The engravings were completed after orignal illustrations by Antoine Poiteau & Pierre-Jean-Francois Turpin. Antoine Poiteau was a pupil of Pierre Joseph-Redoute and was trained as a botanist. Pierre-Jean-François Turpin was a self-taught artist that published a number of his own works.

Lot: 69932 - Duhamel, Poiteau, & Turpin - Pair of Peach Engravings

This stunning fruit engraving is from Henri Louis Duhamel du Monceau's Traité des arbres fruitiers [...] Nouvelle édition, augmentée d'un grand nombre d'espèces de fruits obtenus des progrès de la culture, par A. Poiteau et P.J.F. Turpin. The work was published in Paris and Strasbourg between 1808 and 1835 by Levrault. The work was first published in 1768, but it would be more accurate to view this new edition as its own independent work with the illustrations from Poiteau and Turpin. The work is considered "one of the finest and rares books on fruit, with many beautiful plates." (Dunthorne) Duhamel authored the work as a practical manual to cultivate and increase consumption of fruit. The work described and illustrated almonds, peaches, nectarines, grapes, many kinds of berries, pears, and apples. The engravings were completed by Victor, Bouquet, Gabriel, Giraud, and others. They were printed by Langlois. Each engraving was printed in color with original hand-finishing. The engravings were completed after orignal illustrations by Antoine Poiteau & Pierre-Jean-Francois Turpin. Antoine Poiteau was a pupil of Pierre Joseph-Redoute and was trained as a botanist. Pierre-Jean-François Turpin was a self-taught artist that published a number of his own works.

Lot: 69933 - Trew - Fritillary. 108

This alluring and rare folio, botanical engraving is from Christoph Jakob Trew’s work Hortus Nitidissimus omnen per annum superbiens floribus, sive amoenissimorum florum imagines… In publicum edidit Iohannes Michael Seligmann. The work was published in Nuremberg by Johann Joseph Fleischmann between 1750 and 1772. The engravings feature beautiful original watercolor and gouache hand-coloring. The work was begun by J. M. Seligmann but based on the collection of drawings owned by Trew. Forty of the plates for the work were completed by Georg Dionysius Ehret, one of the greatest botanical artists of that era. The other illustrations were by artists J.C. Keller, Professor of Drawing at Erlangen University, the court painter Nikolaus Eisenberger, and A. L. Wirsing. Hortus Nitidissimus was one of the finest published florilegia. The work featured the colorful flowers cultivated in European gardens including tulips, hyacinths, ranunculi, and roses. It is one "of the finest records of the cultivated flowers of the period" (Dunthorne), and "a valuable florilegium of the plants, especially the florists' plants of the gardens of that time" (Great Flower Books).

Lot: 69934 - Redoute, Folio - Peacock Ginger (Kaempferia Longa)

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: 69935 - Redoute, Folio - Peruvian Lily (Alstroemeria Pelegrina)

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: 69936 - Redoute, Folio - Rose - Rosa centifolia anemonoides

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

Lot: 69937 - Besler - Tobacco Plant (Tabacum latifolium)

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

Lot: 69938 - Besler - Poppy (Papaver laciniatum & Tordilion Creticum)

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

Lot: 69939 - Original Watercolor of Castor Bean Plant (Ricinus inermis) after Herz for 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: 69940 - Pair of Original Watercolors of Bitter Melon & Sponge Gourd (according to Linnaeus system)

Included in this lot: Momordica charantia after Ledel for Miller Momordica cylindrica after Ledel Description of the work: 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: 69941 - Original Watercolor of Phyllanthus longifolius after Schmid for 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: 69942 - Original Watercolor of Bird

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

Lot: 69943 - Original Watercolor of Bird

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

Lot: 69944 - Catesby, Folio - Cat Bird. 1-66

We are pleased to offer this stunning originally hand-colored engraving from Mark Catesby’s The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants; particularly, those not hitherto described, or incorrectly figured by former authors, with their descriptions in English and French. This is the second edition of the work published in 1754 in London. It was printed for Charles Marsh, Thomas Wilcox, and Benjamin Stichall. The engravings are on fine chain-linked, watermarked paper. Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Catesby set out to illustrate all the plants, birds, fish, and reptiles in America. His work greatly contributed to the natural sciences of the 18th century. Hunt describes the work as: "the most famous color-plate book of American plant and animal life, and a fundamental and original work for the study of American species.” Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his dedication is this wonderfully detailed and informative work which gave a detailed view of the natural world of America. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: George M. Pflaumer.

Lot: 69945 - Gould - 4 Bird Lithographs

Included in this lot: Andalusian Turnix Collared Pratincole Cream Coloured Courser Wall Creeper Description of the work: 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: 69946 - Lear & Gould - Rock Ptarmigan

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: 69947 - Gould - Common Teal

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: 69948 - Gould - Wigeon

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: 69949 - Gould - Pair of Shieldrake Lithographs

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: 69950 - Gould - Red-billed Toucan

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