Antique Maps & Prints of Natural History,

Lot: 701 - Merian - Dance of Death. 69

This rare and early engraving is from Matthaus Merian's "La danse des morts .. Todten-Tanz, wie derselbe in der löbl. u. Welt-berühmten Stadt Basel .. zu sehen ist" or "The Dance of the Dead... The Dance of Death, as it can be seen in the laudable and world-famous city of Basel". This engraving was published in Basel by J. R. Imhof in 1756 (though title dated 1744). The engravings were done by A. Chovin after the originals by Merian. Merian first rendered the 'Dance of Death' mural in 1616, just after Emanuel Bock's restoration. He published the most complete and reliable representation of the 'Dance of Death.' He viewed the mural as "'a mirror of human existence' in which people should recognize themselves in their transience and the resulting demand for a meaningful, God-devoted Christian life." (exhibition catalogue: Dances of Death of the HAB) 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: 702 - Merian - Dance of Death. 71

This rare and early engraving is from Matthaus Merian's "La danse des morts .. Todten-Tanz, wie derselbe in der löbl. u. Welt-berühmten Stadt Basel .. zu sehen ist" or "The Dance of the Dead... The Dance of Death, as it can be seen in the laudable and world-famous city of Basel". This engraving was published in Basel by J. R. Imhof in 1756 (though title dated 1744). The engravings were done by A. Chovin after the originals by Merian. Merian first rendered the 'Dance of Death' mural in 1616, just after Emanuel Bock's restoration. He published the most complete and reliable representation of the 'Dance of Death.' He viewed the mural as "'a mirror of human existence' in which people should recognize themselves in their transience and the resulting demand for a meaningful, God-devoted Christian life." (exhibition catalogue: Dances of Death of the HAB) 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: 703 - Schenck - View of Geneva, Switzerland (Geneve)

This historic engraved city or port view is from Pieter Schenk's "Hecatompolis, sive Totius orbis Terrarum Oppida Nobiliora Centum; Exquisite Collecta atque Eleganter Depicta". The work was published by Schenk in 1702 in Holland & West Frisia. The work depicted ports in many important cities around the world including London, Constantinople, Jerusalem, Algiers, New Amsterdam, and Havana. Pieter Schenk the Elder [Petrus or Peter] (1660-1711) was a German cartographer, engraver, and publisher. He studied under Gerhard Valck. The two families would be active print sellers, globe makers, and publishers. Provenance: Name inked to title: Charles D. de Beaurieux(?); Family of William Henry Crocker I (1861-1937); gift to manservant, Louis Collaud (1893-1972) in 1932; bequest, to Nancy Meyer Kolmodin (proprietor of Friedrich’s Gifts & Antiques, Lafayette, CA)

Lot: 704 - Schenck - View of Venice, Italy (Venetië)

This historic engraved city or port view is from Pieter Schenk's "Hecatompolis, sive Totius orbis Terrarum Oppida Nobiliora Centum; Exquisite Collecta atque Eleganter Depicta". The work was published by Schenk in 1702 in Holland & West Frisia. The work depicted ports in many important cities around the world including London, Constantinople, Jerusalem, Algiers, New Amsterdam, and Havana. Pieter Schenk the Elder [Petrus or Peter] (1660-1711) was a German cartographer, engraver, and publisher. He studied under Gerhard Valck. The two families would be active print sellers, globe makers, and publishers. Provenance: Name inked to title: Charles D. de Beaurieux(?); Family of William Henry Crocker I (1861-1937); gift to manservant, Louis Collaud (1893-1972) in 1932; bequest, to Nancy Meyer Kolmodin (proprietor of Friedrich’s Gifts & Antiques, Lafayette, CA)

Lot: 705 - Schenck - View of San Juan, Porto Rico (S. Jan de Rorto Rico)

This historic engraved city or port view is from Pieter Schenk's "Hecatompolis, sive Totius orbis Terrarum Oppida Nobiliora Centum; Exquisite Collecta atque Eleganter Depicta". The work was published by Schenk in 1702 in Holland & West Frisia. The work depicted ports in many important cities around the world including London, Constantinople, Jerusalem, Algiers, New Amsterdam, and Havana. Pieter Schenk the Elder [Petrus or Peter] (1660-1711) was a German cartographer, engraver, and publisher. He studied under Gerhard Valck. The two families would be active print sellers, globe makers, and publishers. Provenance: Name inked to title: Charles D. de Beaurieux(?); Family of William Henry Crocker I (1861-1937); gift to manservant, Louis Collaud (1893-1972) in 1932; bequest, to Nancy Meyer Kolmodin (proprietor of Friedrich’s Gifts & Antiques, Lafayette, CA)

Lot: 706 - Schenck - View of Havana, Cuba (Havanna)

This historic engraved city or port view is from Pieter Schenk's "Hecatompolis, sive Totius orbis Terrarum Oppida Nobiliora Centum; Exquisite Collecta atque Eleganter Depicta". The work was published by Schenk in 1702 in Holland & West Frisia. The work depicted ports in many important cities around the world including London, Constantinople, Jerusalem, Algiers, New Amsterdam, and Havana. Pieter Schenk the Elder [Petrus or Peter] (1660-1711) was a German cartographer, engraver, and publisher. He studied under Gerhard Valck. The two families would be active print sellers, globe makers, and publishers. Provenance: Name inked to title: Charles D. de Beaurieux(?); Family of William Henry Crocker I (1861-1937); gift to manservant, Louis Collaud (1893-1972) in 1932; bequest, to Nancy Meyer Kolmodin (proprietor of Friedrich’s Gifts & Antiques, Lafayette, CA)

Lot: 707 - Schedel, pub. 1493 - View of Pavia, Italy & Religious & Historic People

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: 708 - Schedel, pub. 1493 - View of Verona, Italy & Religious & Historic People

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: 709 - Piranesi, Folio - View of the upper remains of the Baths of Diocletian [Veduta degli avanzi superiori delle Terme di Diocleziano]

This extraordinary large folio etching is from Giovanni Battista Piranesi's "Vedute di Roma". This from a mixed edition of the work published in Rome & Paris likely published c1778 to early 1800s. The etchings are on laid paper some with watermark. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness." Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127)

Lot: 710 - Piranesi, Folio - View of the Arch of Titus [Veduta dell'Arco di Tito]

This extraordinary large folio etching is from Giovanni Battista Piranesi's "Vedute di Roma". This from a mixed edition of the work published in Rome & Paris likely published c1778 to early 1800s. The etchings are on laid paper some with watermark. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness." Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127)

Lot: 711 - Merian & Jonston - 8 Engravings with Sea Life, Jellyfish, Mushroom, Shells + Title Page

This exceptional copper engraving is from Merian & Jonston's "Historia Naturalis". The work was published in Amsterdam in 1660 by J. J. Schipper. Matthias Merian completed the copper plate engravings after the original drawings of John Jonston. John Jonston studied medicine and natural sciences St. Andrews, Cambridge, and Leiden. He published major natural history studies, including "Thaumatographia Naturalis" in 1632. The work detailed knowledge of astronomy, paleontology, plants, animals and man. He also published "Theatrum Universale Omnium Animalium" in 1650. The plates for this work were after his own drawings and engraved by Matthias Merian. The images were of a wide range of animal species. Matthaus Merian was a noted engraver and also ran his own publishing house. He learned the art of copperplate engraving originally in Zurich, but travelled much of Europe improving upon his craft. The Merian family is celebrated for the many remarkable additions made to the knowledge of the natural world.

Lot: 712 - Gould, Australia - 3 Quail or Partridge Lithographs

Included in this lot: Van Diemen's Land-Partridge [Synoicus Diemenensis] Sombre Partridge [Synoicus Sordidus] Pectoral Quail [Cotrunix Pectoralis] Description of the work: This hand-colored folio lithograph is from the esteemed John Gould’s "Birds of Australia". The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. The plate available here is a pattern plate issued without text. The lithograph was used as an example in the process of publishing for how to color the rest of the plates. It is a unique opportunity to own a part of Gould's publishing process. John Gould's first work in connection with Australian birds was "A Synopsis of the Birds of Australia and the Adjacent Islands". This work likely served as a teaser to drive up subscriptions for the work presented here, "Birds of Australia". Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 713 - Gould, Australia - 5 Water or Shore Bird Lithographs

Included in this lot: White-eyebrowed Water Crake [Porzana Leucophrys] Spotted Water Crake [Porzana Fluminea] Curlew Sandpiper [Schoeniclus Subarquatus] Allied Dottrel [Hiaticula Inornata] Terek Sandpiper or Godwit [Terekia Cinerea] Description of the work: This hand-colored folio lithograph is from the esteemed John Gould’s "Birds of Australia". The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. The plate available here is a pattern plate issued without text. The lithograph was used as an example in the process of publishing for how to color the rest of the plates. It is a unique opportunity to own a part of Gould's publishing process. John Gould's first work in connection with Australian birds was "A Synopsis of the Birds of Australia and the Adjacent Islands". This work likely served as a teaser to drive up subscriptions for the work presented here, "Birds of Australia". Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 714 - Gould, Australia - 4 Water or Shore Bird Lithographs

Included in this lot: Little Shearwater [Puffinus Assimilis] Hooded Dottrel [Hiaticula Monacha] White-capped or Black Noddy [Anous Leucocapilus] Blue Petrel [Procellaria Coerulea] Description of the work: This hand-colored folio lithograph is from the esteemed John Gould’s "Birds of Australia". The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. The plate available here is a pattern plate issued without text. The lithograph was used as an example in the process of publishing for how to color the rest of the plates. It is a unique opportunity to own a part of Gould's publishing process. John Gould's first work in connection with Australian birds was "A Synopsis of the Birds of Australia and the Adjacent Islands". This work likely served as a teaser to drive up subscriptions for the work presented here, "Birds of Australia". Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 715 - Gould, Australia - 9 Bird Lithographs

Included in this lot: Plain Coloured Finch [Amadina Modesta] Large-tailed Wren [Amytis Macrourus] Western Acanthiza [Acanthiza Apicalis] Reed Warbler [Acrocephalus Australis] Brittle Bird [Dasyornis Australis] Long-billed Bristle Bird [Dasyornis Longirostris] Square-tailed Warbler [Cysticola Isura] Linneated Warbler [Cysticola Lineacapilla] Great Warbler [Cysticola Magna] Description of the work: This hand-colored folio lithograph is from the esteemed John Gould’s "Birds of Australia". The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. The plate available here is a pattern plate issued without text. The lithograph was used as an example in the process of publishing for how to color the rest of the plates. It is a unique opportunity to own a part of Gould's publishing process. John Gould's first work in connection with Australian birds was "A Synopsis of the Birds of Australia and the Adjacent Islands". This work likely served as a teaser to drive up subscriptions for the work presented here, "Birds of Australia". Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 716 - Gould, Australia - 4 Bird Lithographs

Included in this lot: Northern Fantail [Rhipidura Isura] Spotted Sericornis [Sericornis Maculata] Allied Sericornis [Sericornis Osculans] Brown Red Throat [Pyrrholaemus Brunneus] Description of the work: This hand-colored folio lithograph is from the esteemed John Gould’s "Birds of Australia". The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. The plate available here is a pattern plate issued without text. The lithograph was used as an example in the process of publishing for how to color the rest of the plates. It is a unique opportunity to own a part of Gould's publishing process. John Gould's first work in connection with Australian birds was "A Synopsis of the Birds of Australia and the Adjacent Islands". This work likely served as a teaser to drive up subscriptions for the work presented here, "Birds of Australia". Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 717 - Gould, Australia - Pair of Grass Finch Lithographs

Included in this lot: Beautiful Grass Finch [Poephila Mirabilis] White-eared Grass Finch [Poephila Leucotis] Description of the work: This hand-colored folio lithograph is from the esteemed John Gould’s "Birds of Australia". The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. The plate available here is a pattern plate issued without text. The lithograph was used as an example in the process of publishing for how to color the rest of the plates. It is a unique opportunity to own a part of Gould's publishing process. John Gould's first work in connection with Australian birds was "A Synopsis of the Birds of Australia and the Adjacent Islands". This work likely served as a teaser to drive up subscriptions for the work presented here, "Birds of Australia". Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 718 - Rothschild & Keulemans, Hawaii - Kona Grosbeak [Chloridops Kona]

This hand-colored lithograph is from Lionel Walter Rothschild's "The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions". The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands (Sandwich Islands) with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world. Provenance: Ex-libris of Clifton S. Weaver (1917-1992), Hawaiian amateur malacologist, with his name having been gilt-stamped on a leaf inserted to the work.

Lot: 719 - Rothschild & Keulemans, Hawaii - Laysan or Greater Koa Finch [Telespiza Palmeri]

This hand-colored lithograph is from Lionel Walter Rothschild's "The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions". The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands (Sandwich Islands) with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world. Provenance: Ex-libris of Clifton S. Weaver (1917-1992), Hawaiian amateur malacologist, with his name having been gilt-stamped on a leaf inserted to the work.

Lot: 720 - Rothschild & Keulemans, Hawaii - Kauaʻi o'o [Moho Braccatus]

This hand-colored lithograph is from Lionel Walter Rothschild's "The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions". The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands (Sandwich Islands) with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world. Provenance: Ex-libris of Clifton S. Weaver (1917-1992), Hawaiian amateur malacologist, with his name having been gilt-stamped on a leaf inserted to the work.

Lot: 721 - Rothschild & Keulemans, Hawaii - Kioea [Chaetoptila Angustipluma]

This hand-colored lithograph is from Lionel Walter Rothschild's "The Avifauna of Laysan and the Neighbouring Islands: with a Complete History to Date of the Birds of the Hawaiian Possessions". The work was published in London by Taylor & Francis for R.H. Porter between 1893 and 1900. All of the plates were by and after the work of J. G. Keulemans & F. W. Frohawk. The work was a landmarks study on the birds of the Hawaiian Islands (Sandwich Islands) with only 250 copies published. It was one of the first illustrated accounts of Hawaiian birds, which featured some now extinct birds. The work was based on the collecting of Henry Palmer. Palmer procured all the known land-birds and most of the sea-birds on Laysan including fifteen species new to the scientific world. Provenance: Ex-libris of Clifton S. Weaver (1917-1992), Hawaiian amateur malacologist, with his name having been gilt-stamped on a leaf inserted to the work.

Lot: 722 - Ellis, Hawaii - The Depository of the Kings of Hawaii, adjoining the Place of Refuge at Honaunau (Sandwich Islands)

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

Lot: 723 - Ellis, Hawaii - The Valley of Waipio, from the Sand Hills on the Beach (Valley of the Kings) (Sandwich Islands)

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

Lot: 724 - Ellis, Hawaii - The South-West End of the Volcano of Ki-rau-e-a, in Hawaii (Sandwich Islands)

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

Lot: 725 - Ellis, Hawaii - Map of Hawaii, the Largest of the Sandwich Islands, Improved from Vancouver's Survey

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

Lot: 726 - Rost - Celestial or Astronomy Engraving of Aries, Taurus, Gemini

This charming originally hand-colored celestial engraving is from Johann Leonhard Rost's "Atlas portatilis coelestis. Oder Compendiose Vorstellung des gantzen Welt-Gebaudes in den Anfangs-Gründen der wahren Astronomie". This is from the first edition of the work which was published in Nuremberg in 1723 by Weigel. He first published "Astronomisches Handbuch" in 1718 which was "the first strictly scientific compendium in the German language... The "Atlas coelestis portatilus" also represents a truly substantial achievement..." (ADB XXIX, 274) Rost's work was "strongly influenced by Hevelius." (Warner, Sky explored 212) Johann Leonhard Rost (1688–1725) was a German astronomer and author. The crater Rost on the moon is named after him. He also wrote under the alias Meletaon.

Lot: 727 - Rost - Celestial or Astronomy Engraving of Cancer, Leo, Virgo

This charming originally hand-colored celestial engraving is from Johann Leonhard Rost's "Atlas portatilis coelestis. Oder Compendiose Vorstellung des gantzen Welt-Gebaudes in den Anfangs-Gründen der wahren Astronomie". This is from the first edition of the work which was published in Nuremberg in 1723 by Weigel. He first published "Astronomisches Handbuch" in 1718 which was "the first strictly scientific compendium in the German language... The "Atlas coelestis portatilus" also represents a truly substantial achievement..." (ADB XXIX, 274) Rost's work was "strongly influenced by Hevelius." (Warner, Sky explored 212) Johann Leonhard Rost (1688–1725) was a German astronomer and author. The crater Rost on the moon is named after him. He also wrote under the alias Meletaon.

Lot: 728 - Rost - Celestial or Astronomy Engraving of Libra, Scorpius, Sagittarius

This charming originally hand-colored celestial engraving is from Johann Leonhard Rost's "Atlas portatilis coelestis. Oder Compendiose Vorstellung des gantzen Welt-Gebaudes in den Anfangs-Gründen der wahren Astronomie". This is from the first edition of the work which was published in Nuremberg in 1723 by Weigel. He first published "Astronomisches Handbuch" in 1718 which was "the first strictly scientific compendium in the German language... The "Atlas coelestis portatilus" also represents a truly substantial achievement..." (ADB XXIX, 274) Rost's work was "strongly influenced by Hevelius." (Warner, Sky explored 212) Johann Leonhard Rost (1688–1725) was a German astronomer and author. The crater Rost on the moon is named after him. He also wrote under the alias Meletaon.

Lot: 729 - Rost - Celestial or Astronomy Engraving of Capricornus, Aquarius, Pisces

This charming originally hand-colored celestial engraving is from Johann Leonhard Rost's "Atlas portatilis coelestis. Oder Compendiose Vorstellung des gantzen Welt-Gebaudes in den Anfangs-Gründen der wahren Astronomie". This is from the first edition of the work which was published in Nuremberg in 1723 by Weigel. He first published "Astronomisches Handbuch" in 1718 which was "the first strictly scientific compendium in the German language... The "Atlas coelestis portatilus" also represents a truly substantial achievement..." (ADB XXIX, 274) Rost's work was "strongly influenced by Hevelius." (Warner, Sky explored 212) Johann Leonhard Rost (1688–1725) was a German astronomer and author. The crater Rost on the moon is named after him. He also wrote under the alias Meletaon.

Lot: 730 - Bayer - Constellation or Star Chart of Aquila (Eagle) and Child

Perhaps the most influential book in celestial maps, Johann Bayer's "Uranometria" set long-lasting standards in the world of astronomy. Most importantly, this was not just a book of pictures of the skies, but a map of them, an atlas. The engravings for the work were completed by Alexander Mair. This engraving is from the second edition, published in Ulm in 1639. Bayer included a carefully engraved grid so that the maps could be read and followed to a fraction of a degree. Also, Bayer was the first to us Greek letters to designate stars, commonly in order of magnitude. From that, he named the stars using the Greek letter he had given it coupled with the constellation name, i.e. alpha Tauri. Bayer's work opened a new age in the history of celestial cartography. It was also the first work to represent the stars around the South Pole. The work represented the stars and their positions as presented in Tycho Brahe's catalogue. Bayer also included a plate depicting 12 new southern constellations discovered by Dutch navigators, Peter Dirckszoon de Keyser and Frederick De Houtmann.

Lot: 731 - Bayer - Constellation or Star Chart of Cetus (Sea Dragon)

Perhaps the most influential book in celestial maps, Johann Bayer's "Uranometria" set long-lasting standards in the world of astronomy. Most importantly, this was not just a book of pictures of the skies, but a map of them, an atlas. The engravings for the work were completed by Alexander Mair. This engraving is from the second edition, published in Ulm in 1639. Bayer included a carefully engraved grid so that the maps could be read and followed to a fraction of a degree. Also, Bayer was the first to us Greek letters to designate stars, commonly in order of magnitude. From that, he named the stars using the Greek letter he had given it coupled with the constellation name, i.e. alpha Tauri. Bayer's work opened a new age in the history of celestial cartography. It was also the first work to represent the stars around the South Pole. The work represented the stars and their positions as presented in Tycho Brahe's catalogue. Bayer also included a plate depicting 12 new southern constellations discovered by Dutch navigators, Peter Dirckszoon de Keyser and Frederick De Houtmann.

Lot: 732 - Schiller - Christianized Constellation of Abel (Volans & Dorado)

This fascinating engraving is from Julius Schiller’s "Coelum Stellatum Christianum". It was published in Augsburg by Schiller in 1627. The plates were engraved by Lucas Kilian. Presented on the print is an example of Schiller’s attempt to de-paganize the heavens. In the extensive work, Schiller replaced the signs of the Zodiac with the twelve apostles, the northern constellations with figures from the New Testament, and the southern constellations with figures from the Old Testament. He even gave Christian names to the known planets: the Sun was replaced by Jesus Christ, the moon was replaced by Mary, Jupiter was replaced by Moses, etc. Despite the fascinating subject matter, this star atlas remained a mere curiosity and did not gain wide-spread acceptance. Only one other work Andreas Cellarius, " Harmonia Macrocosmica " is known to have adopted any part of Schiller’s renaming. Julius Schiller (1580-1627) was a German lawyer and astronomer from Augsburg who worked with Johann Bayer.

Lot: 733 - Schiller - Christianized Constellation of Saint Stephen the Protomartyr (Cepheus)

This fascinating engraving is from Schiller’s " Coelum Stellatum Christianum ". It was published in Augsburg by Schiller in 1627. The plates were engraved by Lucas Kilian. Presented on the print is an example of Schiller’s attempt to de-paganize the heavens. In the extensive work, Schiller replaced the signs of the Zodiac with the twelve apostles, the northern constellations with figures from the New Testament, and the southern constellations with figures from the Old Testament. He even gave Christian names to the known planets: the Sun was replaced by Jesus Christ, the moon was replaced by Mary, Jupiter was replaced by Moses, etc. Despite the fascinating subject matter, this star atlas remained a mere curiosity and did not gain wide-spread acceptance. Only one other work Andreas Cellarius, " Harmonia Macrocosmica " is known to have adopted any part of Schiller’s renaming. Julius Schiller (1580-1627) was a German lawyer and astronomer from Augsburg who worked with Johann Bayer.

Lot: 734 - Schiller - Christianized Constellation of Saint Jerome, Doctor of the Church (Auriga)

This fascinating engraving is from Schiller’s " Coelum Stellatum Christianum ". It was published in Augsburg by Schiller in 1627. The plates were engraved by Lucas Kilian. Presented on the print is an example of Schiller’s attempt to de-paganize the heavens. In the extensive work, Schiller replaced the signs of the Zodiac with the twelve apostles, the northern constellations with figures from the New Testament, and the southern constellations with figures from the Old Testament. He even gave Christian names to the known planets: the Sun was replaced by Jesus Christ, the moon was replaced by Mary, Jupiter was replaced by Moses, etc. Despite the fascinating subject matter, this star atlas remained a mere curiosity and did not gain wide-spread acceptance. Only one other work Andreas Cellarius, " Harmonia Macrocosmica " is known to have adopted any part of Schiller’s renaming. Julius Schiller (1580-1627) was a German lawyer and astronomer from Augsburg who worked with Johann Bayer.

Lot: 735 - Schiller - Christianized Constellation of Saint Raphael the Archangel (Tucana, Hydrus)

This fascinating engraving is from Schiller’s " Coelum Stellatum Christianum ". It was published in Augsburg by Schiller in 1627. The plates were engraved by Lucas Kilian. Presented on the print is an example of Schiller’s attempt to de-paganize the heavens. In the extensive work, Schiller replaced the signs of the Zodiac with the twelve apostles, the northern constellations with figures from the New Testament, and the southern constellations with figures from the Old Testament. He even gave Christian names to the known planets: the Sun was replaced by Jesus Christ, the moon was replaced by Mary, Jupiter was replaced by Moses, etc. Despite the fascinating subject matter, this star atlas remained a mere curiosity and did not gain wide-spread acceptance. Only one other work Andreas Cellarius, " Harmonia Macrocosmica " is known to have adopted any part of Schiller’s renaming. Julius Schiller (1580-1627) was a German lawyer and astronomer from Augsburg who worked with Johann Bayer.

Lot: 736 - Doppelmayr & Homann - Constellation or Celestial Chart [Globi Coelestis in Tabulas Planas Redacti Pars II]

This impressive, large folio celestial engraving is from Johann Gabriel Doppelmayr's "Atlas coelestis in quo Mundus Spectabilis". The work was published in Nuremberg in 1742 by Homann's Heirs. Each engraving features original hand-coloring. This is the first and only edition of Doppelmayr's celestial atlas. The work featured an impressive frontispiece by J.C. Reinsperger after J.J. Preisler showing Ptolemy, Copernicus, Kepler and Tycho Brahe discussing the planetary motions. The work featured star charts, a selenographic map, diagrams illustrating the planetary systems (of Copernicus, Brahe, and Riccioli), elliptic theories (of Kepler, Boulliau, Seth Ward, and Mercator), lunar theories (of Brahe, Horrocks, and Newton), and Halley's theory of comets.

Lot: 737 - Doppelmayr & Homann - Constellation or Celestial Chart [Globi Coelestis in Tabulas Planas Redacti Pars V]

This impressive, large folio celestial engraving is from Johann Gabriel Doppelmayr's "Atlas coelestis in quo Mundus Spectabilis". The work was published in Nuremberg in 1742 by Homann's Heirs. Each engraving features original hand-coloring. This is the first and only edition of Doppelmayr's celestial atlas. The work featured an impressive frontispiece by J.C. Reinsperger after J.J. Preisler showing Ptolemy, Copernicus, Kepler and Tycho Brahe discussing the planetary motions. The work featured star charts, a selenographic map, diagrams illustrating the planetary systems (of Copernicus, Brahe, and Riccioli), elliptic theories (of Kepler, Boulliau, Seth Ward, and Mercator), lunar theories (of Brahe, Horrocks, and Newton), and Halley's theory of comets.

Lot: 738 - Munster, pub. 1598 - Pair of Maps of France: Bourdeaux & Tours

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. 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: 739 - Munster, pub. 1598 - Map of Venice, Italy

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. 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: 740 - Munster, pub. 1598 - Map of Asia Minor, Turkey

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. 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: 741 - Munster, pub. 1598 - Map of the Holy Land (Jerusalem, Palestine with Island of Cyprus)

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. 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: 742 - Munster, pub. 1598 - Crocodile or Alligator, Town Views / Verso: Water Well, River, Carrying System

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. 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: 743 - Munster, pub. 1598 - Unicorn, Birds

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. 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: 744 - Visscher - Frontispiece with Globe, Angel, Atlas Holding the World, Lion

This exceptional map with beautiful original hand-coloring is from the Visscher family's "Atlas minor sive totius orbis terrarum contracta delineat ex conatibus." The map available is from a composite atlas "Atlas minor" published by Nicolaes (Nicholas) Visscher in Amsterdam between 1649 to the early 1700s. Visscher's "Atlas Minor" has often been referred to as "the most spectacularly illuminated atlas known." The hand-coloring on the maps is wonderfully executed. The Visscher family created a leading map publication house in Amsterdam in the 17th & 18th centuries. Nicolaes Visscher I founded the publishing firm and quickly his and his family's maps became noted for his quality engravings, ornamental details, and accuracy of cartography. Claes Jansz. Visscher or N.J. Piscator (1587-1652) established the publishing house on Kalverstraat in Amsterdam, originally 'de gulden Bors', and renamed it "In de Visscher". His work on Dutch landscapes and historic scenes brought him to prominence. He originally purchased the copperplates of Pieter van den Keere's " Germania Inferior" to publish his first atlas. Nicolaes (Nicholas) Visscher I (1618-1679) was a Dutch engraver, cartographer, and publisher. He came from a prominent family of cartographers including his father, Claes Janszoon Visscher, and son, Nicholas II. Visscher maps are known for their exceptional detailed engraving work. In 1664, Nichoaes I became a member of the Bookseller's Guild. He obtained rights to protect his maps from reproduction from Holland and West Friesland in 1677 for 15 years. Nicolaas Visscher II (1649-1702) took over the publishing business for his family after his father's death where he moved the shop to the Dam.. He obtained rights to continue to protect their maps from reproduction from Holland and West Friesland in 1682. It allowed the family's firm to continue producing the highest quality maps, atlases, and globes. It cemented the Visscher legacy. His son, Nicolaes III, and widow, Elizabeth Verseyl, continued the business after his death until hers in 1726.

Lot: 745 - Visscher - Map of Utrecht, Netherlands

This exceptional map with beautiful original hand-coloring is from the Visscher family's "Atlas minor sive totius orbis terrarum contracta delineat ex conatibus." The map available is from a composite atlas "Atlas minor" published by Nicolaes (Nicholas) Visscher in Amsterdam between 1649 to the early 1700s. Visscher's "Atlas Minor" has often been referred to as "the most spectacularly illuminated atlas known." The hand-coloring on the maps is wonderfully executed. The Visscher family created a leading map publication house in Amsterdam in the 17th & 18th centuries. Nicolaes Visscher I founded the publishing firm and quickly his and his family's maps became noted for his quality engravings, ornamental details, and accuracy of cartography. Claes Jansz. Visscher or N.J. Piscator (1587-1652) established the publishing house on Kalverstraat in Amsterdam, originally 'de gulden Bors', and renamed it "In de Visscher". His work on Dutch landscapes and historic scenes brought him to prominence. He originally purchased the copperplates of Pieter van den Keere's " Germania Inferior" to publish his first atlas. Nicolaes (Nicholas) Visscher I (1618-1679) was a Dutch engraver, cartographer, and publisher. He came from a prominent family of cartographers including his father, Claes Janszoon Visscher, and son, Nicholas II. Visscher maps are known for their exceptional detailed engraving work. In 1664, Nichoaes I became a member of the Bookseller's Guild. He obtained rights to protect his maps from reproduction from Holland and West Friesland in 1677 for 15 years. Nicolaas Visscher II (1649-1702) took over the publishing business for his family after his father's death where he moved the shop to the Dam.. He obtained rights to continue to protect their maps from reproduction from Holland and West Friesland in 1682. It allowed the family's firm to continue producing the highest quality maps, atlases, and globes. It cemented the Visscher legacy. His son, Nicolaes III, and widow, Elizabeth Verseyl, continued the business after his death until hers in 1726.

Lot: 746 - Visscher - Map of Venice, Italy; Istria Peninsula; Gulf of Venice

This exceptional map with beautiful original hand-coloring is from the Visscher family's "Atlas minor sive totius orbis terrarum contracta delineat ex conatibus." The map available is from a composite atlas "Atlas minor" published by Nicolaes (Nicholas) Visscher in Amsterdam between 1649 to the early 1700s. Visscher's "Atlas Minor" has often been referred to as "the most spectacularly illuminated atlas known." The hand-coloring on the maps is wonderfully executed. The Visscher family created a leading map publication house in Amsterdam in the 17th & 18th centuries. Nicolaes Visscher I founded the publishing firm and quickly his and his family's maps became noted for his quality engravings, ornamental details, and accuracy of cartography. Claes Jansz. Visscher or N.J. Piscator (1587-1652) established the publishing house on Kalverstraat in Amsterdam, originally 'de gulden Bors', and renamed it "In de Visscher". His work on Dutch landscapes and historic scenes brought him to prominence. He originally purchased the copperplates of Pieter van den Keere's " Germania Inferior" to publish his first atlas. Nicolaes (Nicholas) Visscher I (1618-1679) was a Dutch engraver, cartographer, and publisher. He came from a prominent family of cartographers including his father, Claes Janszoon Visscher, and son, Nicholas II. Visscher maps are known for their exceptional detailed engraving work. In 1664, Nichoaes I became a member of the Bookseller's Guild. He obtained rights to protect his maps from reproduction from Holland and West Friesland in 1677 for 15 years. Nicolaas Visscher II (1649-1702) took over the publishing business for his family after his father's death where he moved the shop to the Dam.. He obtained rights to continue to protect their maps from reproduction from Holland and West Friesland in 1682. It allowed the family's firm to continue producing the highest quality maps, atlases, and globes. It cemented the Visscher legacy. His son, Nicolaes III, and widow, Elizabeth Verseyl, continued the business after his death until hers in 1726.

Lot: 747 - Visscher - Map of the Baltic Coast with Northern Poland (Borussiae), Konigsburg (Kaliningrad), and part of Lithuania

This exceptional map with beautiful original hand-coloring is from the Visscher family's "Atlas minor sive totius orbis terrarum contracta delineat ex conatibus." The map available is from a composite atlas "Atlas minor" published by Nicolaes (Nicholas) Visscher in Amsterdam between 1649 to the early 1700s. Visscher's "Atlas Minor" has often been referred to as "the most spectacularly illuminated atlas known." The hand-coloring on the maps is wonderfully executed. The Visscher family created a leading map publication house in Amsterdam in the 17th & 18th centuries. Nicolaes Visscher I founded the publishing firm and quickly his and his family's maps became noted for his quality engravings, ornamental details, and accuracy of cartography. Claes Jansz. Visscher or N.J. Piscator (1587-1652) established the publishing house on Kalverstraat in Amsterdam, originally 'de gulden Bors', and renamed it "In de Visscher". His work on Dutch landscapes and historic scenes brought him to prominence. He originally purchased the copperplates of Pieter van den Keere's " Germania Inferior" to publish his first atlas. Nicolaes (Nicholas) Visscher I (1618-1679) was a Dutch engraver, cartographer, and publisher. He came from a prominent family of cartographers including his father, Claes Janszoon Visscher, and son, Nicholas II. Visscher maps are known for their exceptional detailed engraving work. In 1664, Nichoaes I became a member of the Bookseller's Guild. He obtained rights to protect his maps from reproduction from Holland and West Friesland in 1677 for 15 years. Nicolaas Visscher II (1649-1702) took over the publishing business for his family after his father's death where he moved the shop to the Dam.. He obtained rights to continue to protect their maps from reproduction from Holland and West Friesland in 1682. It allowed the family's firm to continue producing the highest quality maps, atlases, and globes. It cemented the Visscher legacy. His son, Nicolaes III, and widow, Elizabeth Verseyl, continued the business after his death until hers in 1726.

Lot: 748 - Van Keulen, Rare - Coastal Chart of Brittany / Beginning of Loire River

This extraordinary, originally hand-colored map is from the exceedingly rare atlas from Johannes and Gerard Van Keulen entitled "De Groote Nieuwe Vermeerderde Zee-Atlas ofte Water-Waerld. Vertoonende in zig alle de Zee-Kusten des Aardryks. Bestaande in zeer nette Kaarten, zo platte als wassende Graden: waar in ontdekt zyn alle Baayen, Reeden, Klippen, Droogtens, Dieptens, Anker-plaatzen, en alle Strekkingen en Opdoeningen van Landen: ook haar lengten en Polus hoogten, &c. Dienende tot Opbouwinge en Voortplantinge der Scheepvaart, uit nieuwe Opgevingen van Schippers, Stuurlieden en Liefhebbers der Zeevaart. Te zamen vergaadert en in ‘t ligt gebragt, door Gerard van Keulen, &c." The work was published in Amsterdam by Gerard van Keulen in 1708 (but 1709). [The Dutch letterpress title is dated 1708 and contains the address of Gerard van Keulen, while the general allegorical title and 5 allegorical divisional titles are all dated 1709 and show the address of Johannes van Keulen. A further letterpress title in French is dated 1709 and has the address of Gerard van Keulen.] Johannes van Keulen (1654-1711) was a Dutch publisher. He was said to have produced “the largest and finest marine atlases in Holland.” (Koeman) He received a privelege from the States General of Holland and West Friesland in order to printe maritame atlases and shipping guides. The privilege was to protect his printed material from illegal reproduction. He named his printing firm, In de Gekroonde Lootsman, which grew to be one of the most successful Amsterdam publishing firms. He collaborated with other cartographers including Claes Janszoon Vooght and Johannes van Luyken. Keulen's first atlas, entitled "Zee Atlas", contained only 40 charts. By 1695 his atlas would have 160 charts. His son, Gerard, took over publication in 1704 and expanded the atlas to 185 charts by 1709. Gerard van Keulen (1678-1727) was a skilled engraver, mathematician, and chart-maker. He was appointed Hydrographer to the Dutch East India Company in 1714. The van Keulen publishing firm operated continuously from 1678 to 1885 with three generations of the family active in the firm.

Lot: 749 - Van Keulen, Rare - Coastal Chart of Mouth of the Garonne

This extraordinary, originally hand-colored map is from the exceedingly rare atlas from Johannes and Gerard Van Keulen entitled "De Groote Nieuwe Vermeerderde Zee-Atlas ofte Water-Waerld. Vertoonende in zig alle de Zee-Kusten des Aardryks. Bestaande in zeer nette Kaarten, zo platte als wassende Graden: waar in ontdekt zyn alle Baayen, Reeden, Klippen, Droogtens, Dieptens, Anker-plaatzen, en alle Strekkingen en Opdoeningen van Landen: ook haar lengten en Polus hoogten, &c. Dienende tot Opbouwinge en Voortplantinge der Scheepvaart, uit nieuwe Opgevingen van Schippers, Stuurlieden en Liefhebbers der Zeevaart. Te zamen vergaadert en in ‘t ligt gebragt, door Gerard van Keulen, &c." The work was published in Amsterdam by Gerard van Keulen in 1708 (but 1709). [The Dutch letterpress title is dated 1708 and contains the address of Gerard van Keulen, while the general allegorical title and 5 allegorical divisional titles are all dated 1709 and show the address of Johannes van Keulen. A further letterpress title in French is dated 1709 and has the address of Gerard van Keulen.] Johannes van Keulen (1654-1711) was a Dutch publisher. He was said to have produced “the largest and finest marine atlases in Holland.” (Koeman) He received a privelege from the States General of Holland and West Friesland in order to printe maritame atlases and shipping guides. The privilege was to protect his printed material from illegal reproduction. He named his printing firm, In de Gekroonde Lootsman, which grew to be one of the most successful Amsterdam publishing firms. He collaborated with other cartographers including Claes Janszoon Vooght and Johannes van Luyken. Keulen's first atlas, entitled "Zee Atlas", contained only 40 charts. By 1695 his atlas would have 160 charts. His son, Gerard, took over publication in 1704 and expanded the atlas to 185 charts by 1709. Gerard van Keulen (1678-1727) was a skilled engraver, mathematician, and chart-maker. He was appointed Hydrographer to the Dutch East India Company in 1714. The van Keulen publishing firm operated continuously from 1678 to 1885 with three generations of the family active in the firm.

Lot: 750 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of the British Isles (England, Scotland, Ireland)

This engraved map is from Claudius Ptolemaeus (Ptolemy), Giovanni Antonio Magini, and Leonardo Cernoti's "Geografia. Nuovamente con singolare studio ricontrati, & coretti da G. A. Magini. Tradotta da L. Cernoti". The work was published in 1597 and 1598 in Venice by G. B. & B. Galignani. This is considered the first Cernoti edition. This was published in Italian translated from Magini's work of 1596. The maps were engraved by Girolamo Porro. This work is considered a later published editon of Ptolemy (Ptolemaeus)’s "Geographia". The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Girolamo Porro (1520-1604) was an Italian engraver. He worked most of his career in Venice and produced numerous engravings for published works. Provenance: Handwritten ownership inscription to first tile page of "Ex libris Francisci Gherardini Veronensis Marchionis"

Lot: 751 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of Cyprus

This engraved map is from Claudius Ptolemaeus (Ptolemy), Giovanni Antonio Magini, and Leonardo Cernoti's "Geografia. Nuovamente con singolare studio ricontrati, & coretti da G. A. Magini. Tradotta da L. Cernoti". The work was published in 1597 and 1598 in Venice by G. B. & B. Galignani. This is considered the first Cernoti edition. This was published in Italian translated from Magini's work of 1596. The maps were engraved by Girolamo Porro. This work is considered a later published editon of Ptolemy (Ptolemaeus)’s "Geographia". The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Girolamo Porro (1520-1604) was an Italian engraver. He worked most of his career in Venice and produced numerous engravings for published works. Provenance: Handwritten ownership inscription to first tile page of "Ex libris Francisci Gherardini Veronensis Marchionis"

Lot: 752 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of Hungary & Transylvania, Romania

This engraved map is from Claudius Ptolemaeus (Ptolemy), Giovanni Antonio Magini, and Leonardo Cernoti's "Geografia. Nuovamente con singolare studio ricontrati, & coretti da G. A. Magini. Tradotta da L. Cernoti". The work was published in 1597 and 1598 in Venice by G. B. & B. Galignani. This is considered the first Cernoti edition. This was published in Italian translated from Magini's work of 1596. The maps were engraved by Girolamo Porro. This work is considered a later published editon of Ptolemy (Ptolemaeus)’s "Geographia". The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Girolamo Porro (1520-1604) was an Italian engraver. He worked most of his career in Venice and produced numerous engravings for published works. Provenance: Handwritten ownership inscription to first tile page of "Ex libris Francisci Gherardini Veronensis Marchionis"

Lot: 753 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of Moscow, Russia

This engraved map is from Claudius Ptolemaeus (Ptolemy), Giovanni Antonio Magini, and Leonardo Cernoti's "Geografia. Nuovamente con singolare studio ricontrati, & coretti da G. A. Magini. Tradotta da L. Cernoti". The work was published in 1597 and 1598 in Venice by G. B. & B. Galignani. This is considered the first Cernoti edition. This was published in Italian translated from Magini's work of 1596. The maps were engraved by Girolamo Porro. This work is considered a later published editon of Ptolemy (Ptolemaeus)’s "Geographia". The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Girolamo Porro (1520-1604) was an Italian engraver. He worked most of his career in Venice and produced numerous engravings for published works. Provenance: Handwritten ownership inscription to first tile page of "Ex libris Francisci Gherardini Veronensis Marchionis"

Lot: 754 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of the World with the Americas 6 Wind Heads

This engraved map is from Claudius Ptolemaeus (Ptolemy), Giovanni Antonio Magini, and Leonardo Cernoti's "Geografia. Nuovamente con singolare studio ricontrati, & coretti da G. A. Magini. Tradotta da L. Cernoti". The work was published in 1597 and 1598 in Venice by G. B. & B. Galignani. This is considered the first Cernoti edition. This was published in Italian translated from Magini's work of 1596. The maps were engraved by Girolamo Porro. This work is considered a later published editon of Ptolemy (Ptolemaeus)’s "Geographia". The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Girolamo Porro (1520-1604) was an Italian engraver. He worked most of his career in Venice and produced numerous engravings for published works. Provenance: Handwritten ownership inscription to first tile page of "Ex libris Francisci Gherardini Veronensis Marchionis"

Lot: 755 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of the World with the Americas

This engraved map is from Claudius Ptolemaeus (Ptolemy), Giovanni Antonio Magini, and Leonardo Cernoti's "Geografia. Nuovamente con singolare studio ricontrati, & coretti da G. A. Magini. Tradotta da L. Cernoti". The work was published in 1597 and 1598 in Venice by G. B. & B. Galignani. This is considered the first Cernoti edition. This was published in Italian translated from Magini's work of 1596. The maps were engraved by Girolamo Porro. This work is considered a later published editon of Ptolemy (Ptolemaeus)’s "Geographia". The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Girolamo Porro (1520-1604) was an Italian engraver. He worked most of his career in Venice and produced numerous engravings for published works. Provenance: Handwritten ownership inscription to first tile page of "Ex libris Francisci Gherardini Veronensis Marchionis"

Lot: 756 - De Fer - Map of Denmark

This historic map is from Nicolas de Fer's "Atlas or collection of geographical maps, drawn up on the new observations of Mrs. of the Royal Academy of Sciences." The atlas was published in Paris in 1709 [but 1728] at Danet's on the Pont Notre-Dame at the Sphere Royal with the Privilege of the King. Nicolas de Fer (1646-1720) was one of the most famous French cartographers. He was apprentice to Louis Spirinx, an engraver, from the age of 12. His father was a print and map seller, and Nicholas eventually inherited his business after his passing. He was appointed as geographer of the Grand Dauphin and eventually the Geographer of the Kings of France and Spain. De Fer produced over 600 maps or plans including border maps, conquests of Louis XIV, fortifications of Vauban, and voyages or discoveries in new territories. His maps in particular were done with strong collaboration of many renowned engravers including N. Guerard, C. Gournay, C. Inselin, P. Starckmann, H. Van Loon, F. de la Pointe, and A. Coquart.

Lot: 757 - De Fer - Map of Switzerland

This historic map is from Nicolas de Fer's "Atlas or collection of geographical maps, drawn up on the new observations of Mrs. of the Royal Academy of Sciences." The atlas was published in Paris in 1709 [but 1728] at Danet's on the Pont Notre-Dame at the Sphere Royal with the Privilege of the King. Nicolas de Fer (1646-1720) was one of the most famous French cartographers. He was apprentice to Louis Spirinx, an engraver, from the age of 12. His father was a print and map seller, and Nicholas eventually inherited his business after his passing. He was appointed as geographer of the Grand Dauphin and eventually the Geographer of the Kings of France and Spain. De Fer produced over 600 maps or plans including border maps, conquests of Louis XIV, fortifications of Vauban, and voyages or discoveries in new territories. His maps in particular were done with strong collaboration of many renowned engravers including N. Guerard, C. Gournay, C. Inselin, P. Starckmann, H. Van Loon, F. de la Pointe, and A. Coquart.

Lot: 758 - De Fer - Map of Scotland

This historic map is from Nicolas de Fer's "Atlas or collection of geographical maps, drawn up on the new observations of Mrs. of the Royal Academy of Sciences." The atlas was published in Paris in 1709 [but 1728] at Danet's on the Pont Notre-Dame at the Sphere Royal with the Privilege of the King. Nicolas de Fer (1646-1720) was one of the most famous French cartographers. He was apprentice to Louis Spirinx, an engraver, from the age of 12. His father was a print and map seller, and Nicholas eventually inherited his business after his passing. He was appointed as geographer of the Grand Dauphin and eventually the Geographer of the Kings of France and Spain. De Fer produced over 600 maps or plans including border maps, conquests of Louis XIV, fortifications of Vauban, and voyages or discoveries in new territories. His maps in particular were done with strong collaboration of many renowned engravers including N. Guerard, C. Gournay, C. Inselin, P. Starckmann, H. Van Loon, F. de la Pointe, and A. Coquart.

Lot: 759 - De Fer - Map of Paris, France

This historic map is from Nicolas de Fer's "Atlas or collection of geographical maps, drawn up on the new observations of Mrs. of the Royal Academy of Sciences." The atlas was published in Paris in 1709 [but 1728] at Danet's on the Pont Notre-Dame at the Sphere Royal with the Privilege of the King. Nicolas de Fer (1646-1720) was one of the most famous French cartographers. He was apprentice to Louis Spirinx, an engraver, from the age of 12. His father was a print and map seller, and Nicholas eventually inherited his business after his passing. He was appointed as geographer of the Grand Dauphin and eventually the Geographer of the Kings of France and Spain. De Fer produced over 600 maps or plans including border maps, conquests of Louis XIV, fortifications of Vauban, and voyages or discoveries in new territories. His maps in particular were done with strong collaboration of many renowned engravers including N. Guerard, C. Gournay, C. Inselin, P. Starckmann, H. Van Loon, F. de la Pointe, and A. Coquart.

Lot: 760 - Ortelius, pub. 1575 - Map of England

This stunning folio map is from Abraham Ortelius's "Theatrum orbis terrarum". The work was published in Antwerp by Gillis Van den Rade in 1575 (with the first edition being published 1570). The engraved map features Latin text to verso. 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 mythological 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.

Lot: 761 - Ortelius, pub. 1575 - Map of Ireland

This stunning folio map is from Abraham Ortelius's "Theatrum orbis terrarum". The work was published in Antwerp by Gillis Van den Rade in 1575 (with the first edition being published 1570). The engraved map features Latin text to verso. 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 mythological 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.

Lot: 762 - Ortelius, pub. 1575 - Map of Poland

This stunning folio map is from Abraham Ortelius's "Theatrum orbis terrarum". The work was published in Antwerp by Gillis Van den Rade in 1575 (with the first edition being published 1570). The engraved map features Latin text to verso. 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 mythological 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.

Lot: 763 - Ortelius, pub. 1575 - Map of Kingdom of Bohemia (Now Czech Republic or Czechia)

This stunning folio map is from Abraham Ortelius's "Theatrum orbis terrarum". The work was published in Antwerp by Gillis Van den Rade in 1575 (with the first edition being published 1570). The engraved map features Latin text to verso. 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 mythological 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.

Lot: 764 - Prevost - Map of Louisiana, Mississippi River, with Great Lakes & Florida (Carte de la Floride, de la Louisiane..)

This fine engraving is from Antoine-Francois Prevost d'Exiles's "Histoire Generale des Voyages, ou nouvelle collection de toutes les relations de voyages par mer et par terre, qui ont ete publiees jusqu'a present dans les differentes langues de toutes les nations connues". The work was published in Paris in 1748. This is part of an expansive work that referenced China, the East Indies, Asia, the Americas, early Australian voyages, New Guinea, Palau Islands, Africa, and voyages in the Pacific including those of Magellan, Schouten, and Le Maire, Drake, Sarmiento, Cavendish, Spilbergen, Narborough, Rogers, Cowley, Frazier, and Anson. The work included particularly full accounts are given of the Dutch and French voyages to the East Indies, voyages to China, and the British East India Company's voyages to India and Ceylon. (Hill)

Lot: 765 - Jefferys, pub. 1775 - A New Map of Nova Scotia and Cape Breton Island with the Adjacent Parts of New England and Canada (Published June 15, 1775)

About the map: This map is a cartographic milestone of the French & Indian War. It "proved to be important in evaluating respective French and English claims to this part of North America." (Ristow) England had gained sole possession of the region by the Treaty of Paris in 1763.About the work: This rare, historic map is Thomas Jefferys's "The American Atlas; or, a Geographical Description of the Whole Continent of America; Wherein are Delineated at Large its Several Regions, Countries, States, and Islands; and Chiefly the British Colonies". The map was published in London in 1775 by R. Sayer and J. Bennett. Robert Sayer and John Bennett were Jefferys's successors and compiled this 1775 edition of "The American Atlas". It is considered the most important 18th century atlas of America, showing the colonies at the time of the American Revolution. Ristow noted of the atlas that it was a "geographical description of the whole continent of America, as portrayed in the best available maps in the latter half of the eighteenth century ... as a major cartographic reference work it was, very likely, consulted by American, English, and French civilian administrators and military officers during the Revolution." The atlas was of particular note for including Brassier's map of Lake Champlain, Braddock Meade's 'A Map of the Most Inhabited Parts of New England' (largest and most detailed to that date), Samuel Holland's 'The Provinces of New York and New Jersey', William Scull's 'A Map of Pennsylvania' (first to include the western portion), Joshua Fry and Peter Jefferson's 'A Map of the Most Inhabited Part of Virginia' (best to date for the Chesapeake Region), Lt. Ross's 'Course of the Mississippi' (first chart of the river based on English sources), and 'A new Map of the Province of Quebec'. Thomas Jefferys (1719-1771) was a leading English cartographer. He produced some of the most significant maps of the English / American colonies and the early American landscape. He was the appointed Geographer to the Prince of Wales and eventually to the King (1761). His official appointments granted him access to some of the very best surveys and were often considered "official work" for England.

Lot: 766 - Jefferys, pub. 1775 - The Coast of West Florida and Louisiana ... The Peninsula and Gulf of Florida (Published February 20, 1775)

About the map: This is an early map of Florida and Louisiana, based upon the surveys done for the Treaty of Paris in 1763.About the work: This rare, historic map is Thomas Jefferys's "The American Atlas; or, a Geographical Description of the Whole Continent of America; Wherein are Delineated at Large its Several Regions, Countries, States, and Islands; and Chiefly the British Colonies". The map was published in London in 1775 by R. Sayer and J. Bennett. Robert Sayer and John Bennett were Jefferys's successors and compiled this 1775 edition of "The American Atlas". It is considered the most important 18th century atlas of America, showing the colonies at the time of the American Revolution. Ristow noted of the atlas that it was a "geographical description of the whole continent of America, as portrayed in the best available maps in the latter half of the eighteenth century ... as a major cartographic reference work it was, very likely, consulted by American, English, and French civilian administrators and military officers during the Revolution." The atlas was of particular note for including Brassier's map of Lake Champlain, Braddock Meade's 'A Map of the Most Inhabited Parts of New England' (largest and most detailed to that date), Samuel Holland's 'The Provinces of New York and New Jersey', William Scull's 'A Map of Pennsylvania' (first to include the western portion), Joshua Fry and Peter Jefferson's 'A Map of the Most Inhabited Part of Virginia' (best to date for the Chesapeake Region), Lt. Ross's 'Course of the Mississippi' (first chart of the river based on English sources), and 'A new Map of the Province of Quebec'. Thomas Jefferys (1719-1771) was a leading English cartographer. He produced some of the most significant maps of the English / American colonies and the early American landscape. He was the appointed Geographer to the Prince of Wales and eventually to the King (1761). His official appointments granted him access to some of the very best surveys and were often considered "official work" for England.

Lot: 767 - Seutter - Map of New England [Recens edita totius Novi Belgii in America Septentrionali]

This exceptional map is called "" Recens edita totius Novi Belgii in America Septentrionali "". It was originally published by Matthaus Seutter circa 1730 in Augsburg. This map depicts modern-day New England and is based off Jannson's map of 1651. It includes a vignette of New York, during the brief period of Dutch control. This is the second state of the map and includes a misspelling of the city of Boston as ‘Briston’. Georg Matthäus Seutter (1678-1757) was one of the most important German mapmakers of the eighteenth century. Born in Augsburg in 1678, he became an apprentice to the renowned cartographer Johann Baptiste Homann in Nuremberg. In 1707 he established himself as a map publisher in Augsburg, and quickly became Homann's main rival. His business flourished and by 1731 he was appointed Geographer to the Imperial Court.

Lot: 768 - De Fer - Map of the Americas [L’Amerique, Meridionale, et Septentrionale]

This wonderful map is Nicolas de Fer’s "L’Amerique, Meridionale, et Septentrionale". It was published by de Fer in Paris in 1727. This map depicts the territories of the major European powers at the time in North & South America. Nicholas de Fer (1646-1720) was one of the most famous French cartographers. He was apprenticed Louis Spirinx, an engraver, from the age of 12. His father was a print and map seller, and Nicholas eventually inherited his business after his passing. He was appointed as geographer of the Grand Dauphin and eventually the Geographer of the Kings of France and Spain.

Lot: 769 - Edward Curtis - Prayer to the Cedar - Arikara

This moving photogravure in quarto size 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 1909 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 Mandan, Arikara, and Atsina 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: 770 - Edward Curtis - Singing in the Crazy Dance - Atsina

This moving photogravure in quarto size 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 1909 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 Mandan, Arikara, and Atsina 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: 771 - Edward Curtis - Apache Still Life

This moving photogravure in quarto size 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". This photogravure is from the first volume of the work and was published in 1907 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 Navaho, Apache, and Jicarilla 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: 772 - Edward Curtis - Pikthodiklad - Navaho

This moving photogravure in quarto size 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". This photogravure is from the first volume of the work and was published in 1907 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 Navaho, Apache, and Jicarilla 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: 773 - E Curtis, Folio, Japanese Tissue - At the Old Well of Acoma

Description of the image: Members of Coronado's army of explorers in 1540 and Espejo in 1583 noted the "cisterns to collect snow and water" on the rock of Acoma. Description of the work: 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 1930 in Cambridge, Massachusetts. This was part 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. Tiwa communities were located near Taos, Picuris, Sandia, Isleta, and Ysleta del Sur (near El Paso). The Keres were located along the Rio Grande at Cochiti, San Felipe, Santa Ana, Santo Domingo / Kewa, and Zia as well as at Acoma and Laguna. Each photogravure is on Japanese tissue on support sheets as issued with Curtis's credit, printer's credit, title, copyright date, and plate number printed on recto. The deckle is preserved on the edges, and they are on the original overmats. The Japanese tissue issue was produced in the smallest number at great expense. It is the most rare issue of his photogravures. The tissue provides a truly refined presentation of Curtis's images. The picture shown is with a presentation mat over the original issue overmats. 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: 774 - E Curtis, Folio, Japanese Tissue - A Taos Woman

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 1930 in Cambridge, Massachusetts. This was part 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. Tiwa communities were located near Taos, Picuris, Sandia, Isleta, and Ysleta del Sur (near El Paso). The Keres were located along the Rio Grande at Cochiti, San Felipe, Santa Ana, Santo Domingo / Kewa, and Zia as well as at Acoma and Laguna. Each photogravure is on Japanese tissue on support sheets as issued with Curtis's credit, printer's credit, title, copyright date, and plate number printed on recto. The deckle is preserved on the edges, and they are on the original overmats. The Japanese tissue issue was produced in the smallest number at great expense. It is the most rare issue of his photogravures. The tissue provides a truly refined presentation of Curtis's images. The picture shown is with a presentation mat over the original issue overmats. 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: 775 - After Pablo Picasso & Buffon - Le Loup (The Wolf)

This striking aquatint engraving is from the work after Pablo Picasso and Georges Louis Leclerc comte de Buffon entitled "Eaux-Fortes Originales pour des Textes de Buffon". The work was published in Paris by Martin Fabiani in 1942. This is from number 59 of a total edition of 226 with this being one of the 55 special printings on vélin de Montval. The aquatints were printed by Roger Lacourière after original art by Pablo Picasso. "The Buffon is one of the greatest bestiaries of the 20th century. Picasso began these etchings in 1936 (he had promised them to Vollard, who died before their completion; Fabiani was one of Vollard's associates). It appears that the artist executed them rapidly, and with the utmost freedom. The master printer Lacourière had introduced Picasso, as well as Rouault and other artists, to the lift-ground or sugar aquatint process, which allowed a variety of tones and textures within a limited range. The spontaneity of the plates is attested by the freehand margins, the rapidly drawn line, and the use of fingerprints for textural variety." (Garvey, The Artist & the Book, 231) This aquatint is an artistic and wonderful interpretation after Pablo Picasso created from Buffon's work. 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." Pablo Picasso (1881-1973) was a Spanish painter, sculptor, printmaker, ceramicist, and theater designer. Most of his career was spent in France. He was one of the most eminent artists of the 20th century. He is arguably the most important figure to art and art movements in the 1900s.

Lot: 776 - Chagall - The Court - Le Tribunal

This beautifully illustrated, original etching by Marc Chagall was part of Nikolai Gogol's "Les Ames Mortes". The work was published in Paris by Teriade in 1948. This was a limited edition of 368 copies, this being one of 285 on Arche woven paper, and numbered 323. The colophon was signed by Chagall (photocopy included with purchase). Chagall's signature, done to the original plate, is present in the etching. Chagall had created 107 etchings for the work for Ambroise Vollard, but upon Vollard's death in 1939, his work for "Les Ames Mortes" had yet to be published. He eventually was able to buy back his engravings from Lucien Vollard, Ambroise's brother, in 1946. He then commissioned Teriade to publish the completed work. "The most complete work, [it] appeared quickly in 1948. It was necessary beforehand to restore the proofs, which were dirty." (Cécile Chicha-Castex,'La reprise des editions inachevees d’Ambroise Vollard'.. Petit Palais, 2021, pp. 101–105 and cat. 53–55) "Here, the drypoint, opposing pure lines and areas of sieving, of zebra stripes, of dense black, restores the complexity of Gogol's world, this profusion which is sometimes crossed by a poignant recourse to Russian soil." (Chapon, The Painter and the Book, pp. 223-224) Marc Chagall (1887-1985) was a Belarusian-French artist. His given name was Moishe Segal and was born in Belarus which was part of the Russian empire. His art was influenced by Symbolism, Fauvism, Cubism, and Surrealism. The art critic, Robert Hughes, described Chagall as "the quintessential Jewish artist of the twentieth century.

Lot: 777 - Chagall - The Wheat Port - Le Port au Ble

This beautifully illustrated, original etching by Marc Chagall was part of Nikolai Gogol's "Les Ames Mortes". The work was published in Paris by Teriade in 1948. This was a limited edition of 368 copies, this being one of 285 on Arche woven paper, and numbered 323. The colophon was signed by Chagall (photocopy included with purchase). Chagall's signature, done to the original plate, is present in the etching. Chagall had created 107 etchings for the work for Ambroise Vollard, but upon Vollard's death in 1939, his work for "Les Ames Mortes" had yet to be published. He eventually was able to buy back his engravings from Lucien Vollard, Ambroise's brother, in 1946. He then commissioned Teriade to publish the completed work. "The most complete work, [it] appeared quickly in 1948. It was necessary beforehand to restore the proofs, which were dirty." (Cécile Chicha-Castex,'La reprise des editions inachevees d’Ambroise Vollard'.. Petit Palais, 2021, pp. 101–105 and cat. 53–55) "Here, the drypoint, opposing pure lines and areas of sieving, of zebra stripes, of dense black, restores the complexity of Gogol's world, this profusion which is sometimes crossed by a poignant recourse to Russian soil." (Chapon, The Painter and the Book, pp. 223-224) Marc Chagall (1887-1985) was a Belarusian-French artist. His given name was Moishe Segal and was born in Belarus which was part of the Russian empire. His art was influenced by Symbolism, Fauvism, Cubism, and Surrealism. The art critic, Robert Hughes, described Chagall as "the quintessential Jewish artist of the twentieth century.

Lot: 778 - Chagall - The Governor's Wife Scolds Her Daughter - La Femme du Gouverneur Gronde sa Fille

This beautifully illustrated, original etching by Marc Chagall was part of Nikolai Gogol's "Les Ames Mortes". The work was published in Paris by Teriade in 1948. This was a limited edition of 368 copies, this being one of 285 on Arche woven paper, and numbered 323. The colophon was signed by Chagall (photocopy included with purchase). Chagall's signature, done to the original plate, is present in the etching. Chagall had created 107 etchings for the work for Ambroise Vollard, but upon Vollard's death in 1939, his work for "Les Ames Mortes" had yet to be published. He eventually was able to buy back his engravings from Lucien Vollard, Ambroise's brother, in 1946. He then commissioned Teriade to publish the completed work. "The most complete work, [it] appeared quickly in 1948. It was necessary beforehand to restore the proofs, which were dirty." (Cécile Chicha-Castex,'La reprise des editions inachevees d’Ambroise Vollard'.. Petit Palais, 2021, pp. 101–105 and cat. 53–55) "Here, the drypoint, opposing pure lines and areas of sieving, of zebra stripes, of dense black, restores the complexity of Gogol's world, this profusion which is sometimes crossed by a poignant recourse to Russian soil." (Chapon, The Painter and the Book, pp. 223-224) Marc Chagall (1887-1985) was a Belarusian-French artist. His given name was Moishe Segal and was born in Belarus which was part of the Russian empire. His art was influenced by Symbolism, Fauvism, Cubism, and Surrealism. The art critic, Robert Hughes, described Chagall as "the quintessential Jewish artist of the twentieth century.

Lot: 779 - Chagall - The Man Without a Passport Before Captain Ispravnik - L'Homme sans Passeport devant le Capitaine-Ispravnik

This beautifully illustrated, original etching by Marc Chagall was part of Nikolai Gogol's "Les Ames Mortes". The work was published in Paris by Teriade in 1948. This was a limited edition of 368 copies, this being one of 285 on Arche woven paper, and numbered 323. The colophon was signed by Chagall (photocopy included with purchase). Chagall's signature, done to the original plate, is present in the etching. Chagall had created 107 etchings for the work for Ambroise Vollard, but upon Vollard's death in 1939, his work for "Les Ames Mortes" had yet to be published. He eventually was able to buy back his engravings from Lucien Vollard, Ambroise's brother, in 1946. He then commissioned Teriade to publish the completed work. "The most complete work, [it] appeared quickly in 1948. It was necessary beforehand to restore the proofs, which were dirty." (Cécile Chicha-Castex,'La reprise des editions inachevees d’Ambroise Vollard'.. Petit Palais, 2021, pp. 101–105 and cat. 53–55) "Here, the drypoint, opposing pure lines and areas of sieving, of zebra stripes, of dense black, restores the complexity of Gogol's world, this profusion which is sometimes crossed by a poignant recourse to Russian soil." (Chapon, The Painter and the Book, pp. 223-224) Marc Chagall (1887-1985) was a Belarusian-French artist. His given name was Moishe Segal and was born in Belarus which was part of the Russian empire. His art was influenced by Symbolism, Fauvism, Cubism, and Surrealism. The art critic, Robert Hughes, described Chagall as "the quintessential Jewish artist of the twentieth century.

Lot: 780 - Goya - Mariano Ceballos, alias el Indio, Mata el Toro Desde su Caballo

This remarkable folio bull-fighting engraving is from Francisco Goya's "La Tauromaquia". The work was published in 1921 by Circulo de Bellas Artes and limited to 200 copies. This is the fifth edition of the work, the last one made with the original plates. The engravings were done by etching and aquatint in reddish sepia ink. There is a beautiful tissue overlay with decorative border and title for the plate. Each engraving features the blindstamp portrait pf Goya in the lower right corner which is indicative of the 1921 printing. Francisco José de Goya y Lucientes (1746-1828) was an influential Spanish painter. He served as the appointed painter of King Charles IV and Queen Maria-Luisa. His art was influenced by Rembrandt and Velasquez. Pablo Picasso and Salvador Dalí both named Goya as inspiration for their artistic styles.

Lot: 781 - Goya - Otra Locura Suya en la Misma Plaza

This remarkable folio bull-fighting engraving is from Francisco Goya's "La Tauromaquia". The work was published in 1921 by Circulo de Bellas Artes and limited to 200 copies. This is the fifth edition of the work, the last one made with the original plates. The engravings were done by etching and aquatint in reddish sepia ink. There is a beautiful tissue overlay with decorative border and title for the plate. Each engraving features the blindstamp portrait pf Goya in the lower right corner which is indicative of the 1921 printing. Francisco José de Goya y Lucientes (1746-1828) was an influential Spanish painter. He served as the appointed painter of King Charles IV and Queen Maria-Luisa. His art was influenced by Rembrandt and Velasquez. Pablo Picasso and Salvador Dalí both named Goya as inspiration for their artistic styles.

Lot: 782 - Mucha, Folio - Floral Design or Motif. 33

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, 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. Provenance: Property from the Collection of Seymour Stein

Lot: 783 - Mucha, Folio - Floral Design or Motif. 36

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, 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. Provenance: Property from the Collection of Seymour Stein

Lot: 784 - Mucha, Folio - Floral Design or Motif. 41

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, 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. Provenance: Property from the Collection of Seymour Stein

Lot: 785 - Mucha, Folio - Floral & Dog Design or Motif. 42

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, 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. Provenance: Property from the Collection of Seymour Stein

Lot: 786 - Mucha, Folio - Illustration of Topless Woman Writing or Drawing. 57

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, 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. Provenance: Property from the Collection of Seymour Stein

Lot: 787 - Mucha, Folio - Illustration of Topless Woman Writing or Drawing. 7

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, 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. Provenance: Property from the Collection of Seymour Stein

Lot: 788 - Maitres Affiches by Steinlen - Motocylcles Comiot

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: 789 - Maitres Affiches by Toulouse-Lautrec - Divan Japonais

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: 790 - Schumann - 5 Cactus Prints

This rare color chromolithograph is from Prof. Dr. Karl Schumann's "Bluhende Kakteen (Iconographia Cactacearum)". The work was published by J. Neumann in Germany between 1900 and 1921. The work was issued only once, and contains beautiful cactus plates illustrated by Toni Gurke, wife of the editor Max Gurke. Each features original hand-finished coloring with gum arabic. The work was a comprehensive look at nearly 200 flowering cactus species, with a strong selection from Central and South America. Schumann founded the German Cactus Society and catalogued serval new species. He was also the curator of the Berlin Botanical Museum, and he taught botany at the University of Berlin. He also contributed to the field of botanical morphology and is credited with describing hundreds of new species. Three botanical genera and several cactus species have been named after him.

Lot: 791 - Schumann - 4 Cactus Prints

This rare color chromolithograph is from Prof. Dr. Karl Schumann's "Bluhende Kakteen (Iconographia Cactacearum)". The work was published by J. Neumann in Germany between 1900 and 1921. The work was issued only once, and contains beautiful cactus plates illustrated by Toni Gurke, wife of the editor Max Gurke. Each features original hand-finished coloring with gum arabic. The work was a comprehensive look at nearly 200 flowering cactus species, with a strong selection from Central and South America. Schumann founded the German Cactus Society and catalogued serval new species. He was also the curator of the Berlin Botanical Museum, and he taught botany at the University of Berlin. He also contributed to the field of botanical morphology and is credited with describing hundreds of new species. Three botanical genera and several cactus species have been named after him.

Lot: 792 - Van Houtte - Peony

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: 793 - Van Houtte - Pair of Clematis 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: 794 - Van Houtte - Pair of Water Lily Prints

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

Lot: 795 - Van Houtte - Pair of Palm Tree 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: 796 - Van Houtte - Octopus

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: 797 - Curtis - Pair of Water Lily Engravings

This lovely botanical print is from William Curtis’s "The Botanical Magazine, or Flower-Garden Displayed". Curtis was determined to produce a scientifically accurate journal, and so took care that artists used live speicmens for reference. Each plate features a meticulously drawn specimen with an accompanying descriptive text for each (when available). The first 70 volumes (1787-mid1800s) were printed using copper etching and then finished with watercolor added by hand. Around the mid-1800s the images were completed by lithography with hand-coloring. Commonly referred to as " Curtis' Botanical Magazine", this prolific periodical was first published in 1787 and is still in publication today by the Kew Gardens.

Lot: 798 - Curtis - 3 Cactus Engravings

This lovely botanical print is from William Curtis’s "The Botanical Magazine, or Flower-Garden Displayed". Curtis was determined to produce a scientifically accurate journal, and so took care that artists used live speicmens for reference. Each plate features a meticulously drawn specimen with an accompanying descriptive text for each (when available). The first 70 volumes (1787-mid1800s) were printed using copper etching and then finished with watercolor added by hand. Around the mid-1800s the images were completed by lithography with hand-coloring. Commonly referred to as " Curtis' Botanical Magazine", this prolific periodical was first published in 1787 and is still in publication today by the Kew Gardens.

Lot: 799 - Weinmann - Pair of Stapelia or Carrion Flower Engravings

This beautiful botanical mezzotint is from Johann Weinmann's "Duidelyke Vertoning, Eeniger Duizend in alle vier waerelds deelen wassende Bomen, Stammen, Kruiden, Bloemen, Vrugten, en Uitwassen, [German title:] Phythanthoza Iconographia, oder eigentliche Vorstellung etlicher Tausend so wohl einheimisch-als ausländischer aus allen vier Welt-Theilen, in Verlauf vieler Jahr mit unermüdetem Fleisz... Pflanzen, Baüme, Stauden, Kraüter, Blumen, Früchte und Schwämme...". This was the first Dutch edition published in Amsterdam between 1739 and 1748 by Zacharias Romberg. The work contained 1,025 mezzotint engravings, printed in color with the finished color applied by hand. "The copperplates (…) were printed according to Johannes Teyler's invention, patented 1688; they are engraved in combination with mezzotint printed in colour and finished by hand" (Landwehr 212). It was the first published work to include engravings by the greatest botanical artist of the eighteenth century-- Georg Dionysus Ehret. It provided one of the most comprehensive botanical references of the 18th century. It also included work from B. Seuter, J.E. Ridinger, J.J. Haid, N. Asamin, & others. Based on Weinmann's collection of plants, and financed by him, this is the first complete edition of what amounts to a comprehensive iconography of all the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. Weinmann (1683-1741), an apothecary from Regensburg, was the organiser of this huge undertaking, but the work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. Many plates are 'of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds' (Dunthorne). 'The mezzotint process used [in the present work]... had been invented by Johann Teyler in the Netherlands around 1688. As practised here by Bartholomaeus Seuter (1678-1754) and Johann Elias Ridinger (1698-1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects. Some of the best work was done in later volumes by Johann Jakob Haid (1704-1767).' (Hunt) Provenance: Library of Dr. Michael D. Paul of St. John’s, Newfoundland

Lot: 800 - Weinmann - 4 English Daisy Engravings

This beautiful botanical mezzotint is from Johann Weinmann's "Duidelyke Vertoning, Eeniger Duizend in alle vier waerelds deelen wassende Bomen, Stammen, Kruiden, Bloemen, Vrugten, en Uitwassen, [German title:] Phythanthoza Iconographia, oder eigentliche Vorstellung etlicher Tausend so wohl einheimisch-als ausländischer aus allen vier Welt-Theilen, in Verlauf vieler Jahr mit unermüdetem Fleisz... Pflanzen, Baüme, Stauden, Kraüter, Blumen, Früchte und Schwämme...". This was the first Dutch edition published in Amsterdam between 1739 and 1748 by Zacharias Romberg. The work contained 1,025 mezzotint engravings, printed in color with the finished color applied by hand. "The copperplates (…) were printed according to Johannes Teyler's invention, patented 1688; they are engraved in combination with mezzotint printed in colour and finished by hand" (Landwehr 212). It was the first published work to include engravings by the greatest botanical artist of the eighteenth century-- Georg Dionysus Ehret. It provided one of the most comprehensive botanical references of the 18th century. It also included work from B. Seuter, J.E. Ridinger, J.J. Haid, N. Asamin, & others. Based on Weinmann's collection of plants, and financed by him, this is the first complete edition of what amounts to a comprehensive iconography of all the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. Weinmann (1683-1741), an apothecary from Regensburg, was the organiser of this huge undertaking, but the work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. Many plates are 'of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds' (Dunthorne). 'The mezzotint process used [in the present work]... had been invented by Johann Teyler in the Netherlands around 1688. As practised here by Bartholomaeus Seuter (1678-1754) and Johann Elias Ridinger (1698-1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects. Some of the best work was done in later volumes by Johann Jakob Haid (1704-1767).' (Hunt) Provenance: Library of Dr. Michael D. Paul of St. John’s, Newfoundland

Lot: 801 - Weinmann - 4 Anemone Engravings

This beautiful botanical mezzotint is from Johann Weinmann's "Duidelyke Vertoning, Eeniger Duizend in alle vier waerelds deelen wassende Bomen, Stammen, Kruiden, Bloemen, Vrugten, en Uitwassen, [German title:] Phythanthoza Iconographia, oder eigentliche Vorstellung etlicher Tausend so wohl einheimisch-als ausländischer aus allen vier Welt-Theilen, in Verlauf vieler Jahr mit unermüdetem Fleisz... Pflanzen, Baüme, Stauden, Kraüter, Blumen, Früchte und Schwämme...". This was the first Dutch edition published in Amsterdam between 1739 and 1748 by Zacharias Romberg. The work contained 1,025 mezzotint engravings, printed in color with the finished color applied by hand. "The copperplates (…) were printed according to Johannes Teyler's invention, patented 1688; they are engraved in combination with mezzotint printed in colour and finished by hand" (Landwehr 212). It was the first published work to include engravings by the greatest botanical artist of the eighteenth century-- Georg Dionysus Ehret. It provided one of the most comprehensive botanical references of the 18th century. It also included work from B. Seuter, J.E. Ridinger, J.J. Haid, N. Asamin, & others. Based on Weinmann's collection of plants, and financed by him, this is the first complete edition of what amounts to a comprehensive iconography of all the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. Weinmann (1683-1741), an apothecary from Regensburg, was the organiser of this huge undertaking, but the work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. Many plates are 'of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds' (Dunthorne). 'The mezzotint process used [in the present work]... had been invented by Johann Teyler in the Netherlands around 1688. As practised here by Bartholomaeus Seuter (1678-1754) and Johann Elias Ridinger (1698-1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects. Some of the best work was done in later volumes by Johann Jakob Haid (1704-1767).' (Hunt) Provenance: Library of Dr. Michael D. Paul of St. John’s, Newfoundland

Lot: 802 - Weinmann - Pair of Engravings of Hollyhock, Hibiscus

This beautiful botanical mezzotint is from Johann Weinmann's "Duidelyke Vertoning, Eeniger Duizend in alle vier waerelds deelen wassende Bomen, Stammen, Kruiden, Bloemen, Vrugten, en Uitwassen, [German title:] Phythanthoza Iconographia, oder eigentliche Vorstellung etlicher Tausend so wohl einheimisch-als ausländischer aus allen vier Welt-Theilen, in Verlauf vieler Jahr mit unermüdetem Fleisz... Pflanzen, Baüme, Stauden, Kraüter, Blumen, Früchte und Schwämme...". This was the first Dutch edition published in Amsterdam between 1739 and 1748 by Zacharias Romberg. The work contained 1,025 mezzotint engravings, printed in color with the finished color applied by hand. "The copperplates (…) were printed according to Johannes Teyler's invention, patented 1688; they are engraved in combination with mezzotint printed in colour and finished by hand" (Landwehr 212). It was the first published work to include engravings by the greatest botanical artist of the eighteenth century-- Georg Dionysus Ehret. It provided one of the most comprehensive botanical references of the 18th century. It also included work from B. Seuter, J.E. Ridinger, J.J. Haid, N. Asamin, & others. Based on Weinmann's collection of plants, and financed by him, this is the first complete edition of what amounts to a comprehensive iconography of all the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. Weinmann (1683-1741), an apothecary from Regensburg, was the organiser of this huge undertaking, but the work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. Many plates are 'of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds' (Dunthorne). 'The mezzotint process used [in the present work]... had been invented by Johann Teyler in the Netherlands around 1688. As practised here by Bartholomaeus Seuter (1678-1754) and Johann Elias Ridinger (1698-1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects. Some of the best work was done in later volumes by Johann Jakob Haid (1704-1767).' (Hunt) Provenance: Library of Dr. Michael D. Paul of St. John’s, Newfoundland

Lot: 803 - Pair of Original Botanical Watercolors of African Daisy & Othona (according to Linnaeus system)

Included in this lot: African Daisy - Arctotis after Ledel Othona athanasice 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: 804 - Pair of Original Botanical Watercolors of African Daisy (according to Linnaeus system)

Included in this lot: African Daisy - Arctotis grandiflora after Herz for Jacquin African Daisy - Arctotis glabrata after Schmid for Jacquin 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: 805 - Cramer - Pair of Butterfly Engravings

This detailed, hand-colored engraving is from Pieter Cramer and Caspar Stoll’s "De uitlandsche Kapellen voorkomende in de drie Waereld-Deelen... Papillons exotiques des trois parties du monde l’Asie, l’Afrique et l’Amerique". The work was published in Amsterdam and Utrecht between 1775 and 1784 b y S. J. Baalde and Barthelemy Wild. The work was likely of an edition of 500 published based on the subscribers list. Pieter Cramer was the primary author, while Casper Stoll completed the project after Cramer’s passing in 1777. Gerrit Lambertz was the commissioned colorist for the work. Each hand-colored engraving featured exotic butterflies and moths. "Papillons Exotiques" is the first work on entomology which was arranged according to the Linnean method. Over 1700 species were depicted in the work.

Lot: 806 - Cramer - Pair of Butterfly Engravings

This detailed, hand-colored engraving is from Pieter Cramer and Caspar Stoll’s "De uitlandsche Kapellen voorkomende in de drie Waereld-Deelen... Papillons exotiques des trois parties du monde l’Asie, l’Afrique et l’Amerique". The work was published in Amsterdam and Utrecht between 1775 and 1784 b y S. J. Baalde and Barthelemy Wild. The work was likely of an edition of 500 published based on the subscribers list. Pieter Cramer was the primary author, while Casper Stoll completed the project after Cramer’s passing in 1777. Gerrit Lambertz was the commissioned colorist for the work. Each hand-colored engraving featured exotic butterflies and moths. "Papillons Exotiques" is the first work on entomology which was arranged according to the Linnean method. Over 1700 species were depicted in the work.

Lot: 807 - Audubon - Rocky Mountain Goat. 128

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: 808 - Audubon - Hare Indian Dog. 132

This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 809 - Audubon - Texan Hare. 133

This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York 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: 810 - Audubon - Nine-banded Armadillo. 146

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: 811 - Audubon - Grizzly Bear. 131

This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York 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: 812 - 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: 813 - Lemaire - Quetzal. 52

This originally hand-colored engraving is from Charles L. Lemaire's "Histoire naturelle des oiseaux exotiques". This from the first edition of the work and published in Paris by Pauquet and Debure in 1836. The steel engravings were done by Hippolyte and Polydore Pauquet, renowned 19th century French illustrators and brothers. The original hand-coloring is vibrant and skillful. The work included species from Australia and Oceania.

Lot: 814 - Lemaire - Bird of Paradise. 26

This originally hand-colored engraving is from Charles L. Lemaire's "Histoire naturelle des oiseaux exotiques". This from the first edition of the work and published in Paris by Pauquet and Debure in 1836. The steel engravings were done by Hippolyte and Polydore Pauquet, renowned 19th century French illustrators and brothers. The original hand-coloring is vibrant and skillful. The work included species from Australia and Oceania.

Lot: 815 - Lemaire - Bird of Paradise. 25

This originally hand-colored engraving is from Charles L. Lemaire's "Histoire naturelle des oiseaux exotiques". This from the first edition of the work and published in Paris by Pauquet and Debure in 1836. The steel engravings were done by Hippolyte and Polydore Pauquet, renowned 19th century French illustrators and brothers. The original hand-coloring is vibrant and skillful. The work included species from Australia and Oceania.

Lot: 816 - Lemaire - Toucans or Aracari. 42

This originally hand-colored engraving is from Charles L. Lemaire's "Histoire naturelle des oiseaux exotiques". This from the first edition of the work and published in Paris by Pauquet and Debure in 1836. The steel engravings were done by Hippolyte and Polydore Pauquet, renowned 19th century French illustrators and brothers. The original hand-coloring is vibrant and skillful. The work included species from Australia and Oceania.

Lot: 817 - Lemaire - Toucans. 41

This originally hand-colored engraving is from Charles L. Lemaire's "Histoire naturelle des oiseaux exotiques". This from the first edition of the work and published in Paris by Pauquet and Debure in 1836. The steel engravings were done by Hippolyte and Polydore Pauquet, renowned 19th century French illustrators and brothers. The original hand-coloring is vibrant and skillful. The work included species from Australia and Oceania.

Lot: 818 - Lemaire - Lyrebird. 56

This originally hand-colored engraving is from Charles L. Lemaire's "Histoire naturelle des oiseaux exotiques". This from the first edition of the work and published in Paris by Pauquet and Debure in 1836. The steel engravings were done by Hippolyte and Polydore Pauquet, renowned 19th century French illustrators and brothers. The original hand-coloring is vibrant and skillful. The work included species from Australia and Oceania.

Lot: 819 - Hahn, Watercolor - Green-rumped Parrotlet [Psittacus passerinus]

This beautiful, original watercolor was indluded with Carl Wilhelm Hahn's "Ornithologischer Atlas oder naturgetreue Abbildung und Beschreibung der aussereuropäischen Vogel." The work was published in Nuremberg between 1834 and 1841. This appears to be an original watercolor that was either the example for the engraving or created after the original engravings of Hahn. Carl Wilhelm Hahn (1786-1835) was a German zoologist. This work focused on documenting and illustrating birds outside of Europe. He was also noted to have written the first German monograph on spiders.

Lot: 820 - Hahn, Watercolor - Parrot [Psittacus pondicerianus]

This beautiful, original watercolor was indluded with Carl Wilhelm Hahn's "Ornithologischer Atlas oder naturgetreue Abbildung und Beschreibung der aussereuropäischen Vogel." The work was published in Nuremberg between 1834 and 1841. This appears to be an original watercolor that was either the example for the engraving or created after the original engravings of Hahn. Carl Wilhelm Hahn (1786-1835) was a German zoologist. This work focused on documenting and illustrating birds outside of Europe. He was also noted to have written the first German monograph on spiders.

Lot: 821 - Hahn, Watercolor - Indian Rose-ringed Parakeet [Psittacus manillensis]

This beautiful, original watercolor was indluded with Carl Wilhelm Hahn's "Ornithologischer Atlas oder naturgetreue Abbildung und Beschreibung der aussereuropäischen Vogel." The work was published in Nuremberg between 1834 and 1841. This appears to be an original watercolor that was either the example for the engraving or created after the original engravings of Hahn. Carl Wilhelm Hahn (1786-1835) was a German zoologist. This work focused on documenting and illustrating birds outside of Europe. He was also noted to have written the first German monograph on spiders.

Lot: 822 - Hahn, Watercolor - Maroon Shining Parrot [Psittacus tabuensis]

This beautiful, original watercolor was indluded with Carl Wilhelm Hahn's "Ornithologischer Atlas oder naturgetreue Abbildung und Beschreibung der aussereuropäischen Vogel." The work was published in Nuremberg between 1834 and 1841. This appears to be an original watercolor that was either the example for the engraving or created after the original engravings of Hahn. Carl Wilhelm Hahn (1786-1835) was a German zoologist. This work focused on documenting and illustrating birds outside of Europe. He was also noted to have written the first German monograph on spiders.

Lot: 823 - Hahn, Watercolor - Scarlet Macaw [Psittacus passerinus]

This beautiful, original watercolor was indluded with Carl Wilhelm Hahn's "Ornithologischer Atlas oder naturgetreue Abbildung und Beschreibung der aussereuropäischen Vogel." The work was published in Nuremberg between 1834 and 1841. This appears to be an original watercolor that was either the example for the engraving or created after the original engravings of Hahn. Carl Wilhelm Hahn (1786-1835) was a German zoologist. This work focused on documenting and illustrating birds outside of Europe. He was also noted to have written the first German monograph on spiders.

Lot: 824 - Hahn, Watercolor - Blue-and-yellow Macaw [Psittacus ararauna]

This beautiful, original watercolor was indluded with Carl Wilhelm Hahn's "Ornithologischer Atlas oder naturgetreue Abbildung und Beschreibung der aussereuropäischen Vogel." The work was published in Nuremberg between 1834 and 1841. This appears to be an original watercolor that was either the example for the engraving or created after the original engravings of Hahn. Carl Wilhelm Hahn (1786-1835) was a German zoologist. This work focused on documenting and illustrating birds outside of Europe. He was also noted to have written the first German monograph on spiders.

Lot: 825 - Linnaeus & Sibly - Paroquets with short Tails (Parrots)

This scarce first edition engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural History... or Magazine of Natural History". The work was published in London between 1794 and 1810, printed for the proprietor and sold by Champante and Whitrow. The work featured originally hand-colored engravings based upon original illustrations by celebrated natural history artists and authors including George Edwards, Marcus Elieser Bloch, Georg Wolfgang Knorr, Georges-Louis Leclerc de Buffon, and others. It followed Linnaeus's classification methods exploring animals, vegetables, minerals, humans, and other natural history subjects. Carl Linnaeus (1707-1788) was a Swedish botanist, physician and zoologist who formalized the system of binomial nomenclature which is still in practice today. He is considered the Father of Taxonomy. Ebenezer Sibly (1751-1799) was an English physician and astrologer. He also wrote works on the occult. He believed in the theory of environmentalist monogenism purporting a single human origin of which he claimed the white race was the first on earth and that climate was the cause of darker skin.

Lot: 826 - Linnaeus & Sibly - Paroquets with long Tails (Parrots)

This scarce first edition engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural History... or Magazine of Natural History". The work was published in London between 1794 and 1810, printed for the proprietor and sold by Champante and Whitrow. The work featured originally hand-colored engravings based upon original illustrations by celebrated natural history artists and authors including George Edwards, Marcus Elieser Bloch, Georg Wolfgang Knorr, Georges-Louis Leclerc de Buffon, and others. It followed Linnaeus's classification methods exploring animals, vegetables, minerals, humans, and other natural history subjects. Carl Linnaeus (1707-1788) was a Swedish botanist, physician and zoologist who formalized the system of binomial nomenclature which is still in practice today. He is considered the Father of Taxonomy. Ebenezer Sibly (1751-1799) was an English physician and astrologer. He also wrote works on the occult. He believed in the theory of environmentalist monogenism purporting a single human origin of which he claimed the white race was the first on earth and that climate was the cause of darker skin.

Lot: 827 - Linnaeus & Sibly - The Green Parrot of Botany Bay

This scarce first edition engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural History... or Magazine of Natural History". The work was published in London between 1794 and 1810, printed for the proprietor and sold by Champante and Whitrow. The work featured originally hand-colored engravings based upon original illustrations by celebrated natural history artists and authors including George Edwards, Marcus Elieser Bloch, Georg Wolfgang Knorr, Georges-Louis Leclerc de Buffon, and others. It followed Linnaeus's classification methods exploring animals, vegetables, minerals, humans, and other natural history subjects. Carl Linnaeus (1707-1788) was a Swedish botanist, physician and zoologist who formalized the system of binomial nomenclature which is still in practice today. He is considered the Father of Taxonomy. Ebenezer Sibly (1751-1799) was an English physician and astrologer. He also wrote works on the occult. He believed in the theory of environmentalist monogenism purporting a single human origin of which he claimed the white race was the first on earth and that climate was the cause of darker skin.

Lot: 828 - Linnaeus & Sibly - The Red-breasted Parrakeet

This scarce first edition engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural History... or Magazine of Natural History". The work was published in London between 1794 and 1810, printed for the proprietor and sold by Champante and Whitrow. The work featured originally hand-colored engravings based upon original illustrations by celebrated natural history artists and authors including George Edwards, Marcus Elieser Bloch, Georg Wolfgang Knorr, Georges-Louis Leclerc de Buffon, and others. It followed Linnaeus's classification methods exploring animals, vegetables, minerals, humans, and other natural history subjects. Carl Linnaeus (1707-1788) was a Swedish botanist, physician and zoologist who formalized the system of binomial nomenclature which is still in practice today. He is considered the Father of Taxonomy. Ebenezer Sibly (1751-1799) was an English physician and astrologer. He also wrote works on the occult. He believed in the theory of environmentalist monogenism purporting a single human origin of which he claimed the white race was the first on earth and that climate was the cause of darker skin.

Lot: 829 - Linnaeus & Sibly - The Basilian Green Maccaw (Macaw)

This scarce first edition engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural History... or Magazine of Natural History". The work was published in London between 1794 and 1810, printed for the proprietor and sold by Champante and Whitrow. The work featured originally hand-colored engravings based upon original illustrations by celebrated natural history artists and authors including George Edwards, Marcus Elieser Bloch, Georg Wolfgang Knorr, Georges-Louis Leclerc de Buffon, and others. It followed Linnaeus's classification methods exploring animals, vegetables, minerals, humans, and other natural history subjects. Carl Linnaeus (1707-1788) was a Swedish botanist, physician and zoologist who formalized the system of binomial nomenclature which is still in practice today. He is considered the Father of Taxonomy. Ebenezer Sibly (1751-1799) was an English physician and astrologer. He also wrote works on the occult. He believed in the theory of environmentalist monogenism purporting a single human origin of which he claimed the white race was the first on earth and that climate was the cause of darker skin.

Lot: 830 - Linnaeus & Sibly - The Yellow-crested Cockatoo

This scarce first edition engraving is from Sir Charles Linnaeus & Ebenezer Sibley's "A Genuine and Universal System of Natural History... or Magazine of Natural History". The work was published in London between 1794 and 1810, printed for the proprietor and sold by Champante and Whitrow. The work featured originally hand-colored engravings based upon original illustrations by celebrated natural history artists and authors including George Edwards, Marcus Elieser Bloch, Georg Wolfgang Knorr, Georges-Louis Leclerc de Buffon, and others. It followed Linnaeus's classification methods exploring animals, vegetables, minerals, humans, and other natural history subjects. Carl Linnaeus (1707-1788) was a Swedish botanist, physician and zoologist who formalized the system of binomial nomenclature which is still in practice today. He is considered the Father of Taxonomy. Ebenezer Sibly (1751-1799) was an English physician and astrologer. He also wrote works on the occult. He believed in the theory of environmentalist monogenism purporting a single human origin of which he claimed the white race was the first on earth and that climate was the cause of darker skin.

Lot: 831 - Gould, Asia - Pair of Finch Lithographs

Included in this lot: Trumpeter Bullfinch [Erythrospiza Githaginea] Mongolian Finch [Erythrospiza Incarnata] Description of the work: This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s "Birds of Asia" published in London between 1850 and 1883. Henry Sotheran & Co purchased all of the remaining plates from the Gould estate including the 'pattern plate' presented here. This plate was specifically used as the original reference for Gould's colorist to produce the rest of the work. It is a unique opportunity to own a an important part of the production process of Gould's works."Birds of Asia". "Birds of Asia" featured some of the most vibrant varieties of birds to be found around the world due to the wide reaching natural fauna of the expansive geographical region. The work took thirty-four years to complete and is considered one of Gould’s greatest accomplishments. Trogons, Kingfishers, Sunbirds, Woodpeckers, Pheasants, and Parrots are all featured in the bountiful work. The backgrounds should also be given particular note, as it was clear Gould was especially drawn to the natural flora and delineated the bird’s surroundings with great detail. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 832 - Martinet & Buffon - 4 Woodpecker Engravings

This originally hand-colored engraving is from Georges-Louis Leclerc de Buffon & Francois-Nicolas Martinet's work entitled "Histoire Naturelle des Oiseaux". It was published in Paris by Imprimerie Royale between 1770 and 1786. It was considered one of the most important and beautiful works on birds of the 18th century. Each plate from the work features a delicate yellow border, which many believe led to the development of French matting. They are engraved on fine chain-linked, watermarked paper. 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." The bird engravings are from François-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on "Histoire Naturelle des Oiseaux". Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 833 - Martinet & Buffon - Pair of Kite Engravings

This originally hand-colored engraving is from Georges-Louis Leclerc de Buffon & Francois-Nicolas Martinet's work entitled "Histoire Naturelle des Oiseaux". It was published in Paris by Imprimerie Royale between 1770 and 1786. It was considered one of the most important and beautiful works on birds of the 18th century. Each plate from the work features a delicate yellow border, which many believe led to the development of French matting. They are engraved on fine chain-linked, watermarked paper. 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." The bird engravings are from François-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on "Histoire Naturelle des Oiseaux". Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 834 - Martinet & Buffon - 3 Gyrfalcon Engravings

This originally hand-colored engraving is from Georges-Louis Leclerc de Buffon & Francois-Nicolas Martinet's work entitled "Histoire Naturelle des Oiseaux". It was published in Paris by Imprimerie Royale between 1770 and 1786. It was considered one of the most important and beautiful works on birds of the 18th century. Each plate from the work features a delicate yellow border, which many believe led to the development of French matting. They are engraved on fine chain-linked, watermarked paper. 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." The bird engravings are from François-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on "Histoire Naturelle des Oiseaux". Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 835 - Sharpe & Gould - Meyer's Sickle-billed Bird of Paradise [Epimachus Meyeri]

This stunning hand-colored folio lithograph is from "Monograph of the Paradiseidae, or Birds of Paradise and Ptilonorhynchidae, and Bower-Birds" by Richard Bowdler Sharpe. The work was published in London by Taylor & Francis for Henry Sotheran & Co between 1891 and 1898. The "Birds of Paradise" was the idea of John Gould's but completed after his death by Sharpe. The plates were predominantly drawn by William Matthew Hart, John Gould, and John Gerard Keulemans. It was the first monograph devoted to the remarkable birds of paradise and the "last of the fine bird books" (Fine Bird Books p.107) The remarkable-looking "Birds of Paradise" have captivated western science since Magellan first brought back a skin of such a creature in 1522. The skins, highly prized by East Indian natives, was given by the ruler of Batchian (in the Mollucas) as a gift to the King of Spain. The legs and wings of the bird, however, had been removed when skinned, presumably to better show its impressive plumage. When asked why the bird had no wings or feet, the natives replied that none were needed as the bird simply floated in its heavenly paradise. Thus, the earliest descriptions of the species, and indeed even its scientific naming by Linnaeus in the 18th century as Paradisaea apoda (legless bird of paradise), perpetuated that myth. Due to the remote nature of their rain forest habitat in New Guinea, it was not until the mid-19th century that these remarkable birds were first scientifically observed and accurately described. Gould had intended to publish the first monograph devoted to the birds of paradise following completion of his "Birds of New Guinea", but he did not live to do so. When Sharpe took over the task of completing that work, he appealed for subscribers for the proposed monograph. The response was clearly enthusiastic as within three years the first part of the present work was published. Some of the plates had previously appeared in Gould's Birds of New Guinea as "Messrs. Sotheran purchased the stock of Gould's works after his death [and] acquired the stones with which he had intended to illustrate his Monograph... Many of them were broken or otherwise damaged, and of these some have been redrawn or replaced by new plates by Mr. Hart. Since Gould's time, however, many marvelous new species have been discovered, and these have been described and figured in the present work" (Appendix). Fine Bird Books (1990) p.107; Nissen IVB 581; Ripley 263; Wood, p.565; Zimmer, p.581.

Lot: 836 - Gould - Swainson's 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.

Lot: 837 - Redoute, Folio - Knysna Lily [Cyrtanthe oblique]

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: 838 - Redoute, Folio - Rose - Rosa eglanteria var. punicea

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: 839 - Redoute, Choix, Rare Folio - Pansies [Bouquet de Pensees]

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's "Le Choix des Plus Belles Fleurs". This is from the first edition of the work and was published in Paris between 1827 and 1833 by Panckoucke. These were engraved with a stipple technique on copper, printed in some color. There were printed by Bessin, Chapuy, Langlois, and Victor after Redoute's illustrations. Each engraving is hand-finished with watercolor. This is a very rare presentation in large folio format with wide margined paper. It is speculated that Redoute published 5 in folio format, but research from Hunt is speculative of a slightly higher number. (Hunt, Redouteana) "A superb work, one of the finest of all collections of flower prints." (Dunthorne) Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 840 - Redoute, Choix, Rare Folio - Magnolia [Magnolia Soulangiana]

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's "Le Choix des Plus Belles Fleurs". This is from the first edition of the work and was published in Paris between 1827 and 1833 by Panckoucke. These were engraved with a stipple technique on copper, printed in some color. There were printed by Bessin, Chapuy, Langlois, and Victor after Redoute's illustrations. Each engraving is hand-finished with watercolor. This is a very rare presentation in large folio format with wide margined paper. It is speculated that Redoute published 5 in folio format, but research from Hunt is speculative of a slightly higher number. (Hunt, Redouteana) "A superb work, one of the finest of all collections of flower prints." (Dunthorne) Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 841 - Redoute, Choix, Rare Folio - Peony [Paeonia teniufolia]

This striking originally hand-colored stipple engraving is from Pierre Joseph Redoute's "Le Choix des Plus Belles Fleurs". This is from the first edition of the work and was published in Paris between 1827 and 1833 by Panckoucke. These were engraved with a stipple technique on copper, printed in some color. There were printed by Bessin, Chapuy, Langlois, and Victor after Redoute's illustrations. Each engraving is hand-finished with watercolor. This is a very rare presentation in large folio format with wide margined paper. It is speculated that Redoute published 5 in folio format, but research from Hunt is speculative of a slightly higher number. (Hunt, Redouteana) "A superb work, one of the finest of all collections of flower prints." (Dunthorne) Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. Choix is often considered some of Redoute's most desirable work, a culmination of his impressive skill and talent. He aimed to make the composition more appealing to the upper classes which created highly decorative engravings. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute engravings their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 842 - Brookshaw, Folio - Melon. 68

This remarkable, large folio fruit engraving is from George Brookshaw's "Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country; together with the Blossoms and Leaves of such as are necessary to distinguish the various sorts from each other". The work featured originally hand-colored aquatint engravings created using the color printed stipple method. They were engraved by R. Brookshaw & H. Merke. George Brookshaw published the work in London between 1804 and 1812. Dunthorne remarked on Brookshaw and his work as “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, "Pomona Britannica". Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora, depict the fruit grown around London and particularly in the royal gardens at Hampton Court. In Aquatint Engravings, Brookshaw’s "Pomona Britannica" is described by S. T. Prideaux as 'one of the finest colour plate books in existence.' In many of these plates the lovely mellow tones of the fruit glow against the dark or light brown backgrounds.”

Lot: 843 - Thornton, Folio - The Superb Lily

This dramatic large folio botanical engraving is from Dr. Robert John Thornton’s work "New Illustration of the Sexual System of Carolus Von Linnaeus...and the Temple of Flora, or Garden of Nature". This was the first edition of the work published in London by between 1787 and 1812. Each engraving was made using stipple, mezzotint, and aquatint processes and some feature hand-coloring heightened with gum Arabic. The engraving will include the text when available to send with the plate. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. "Temple of Flora" is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for "Temple of Flora". Thornton's "The Temple of Flora" is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 844 - Thornton, Folio - The Night-Blowing Cereus (Cactus)

This dramatic large folio botanical engraving is from Dr. Robert John Thornton’s work "New Illustration of the Sexual System of Carolus Von Linnaeus...and the Temple of Flora, or Garden of Nature". This was the first edition of the work published in London by between 1787 and 1812. Each engraving was made using stipple, mezzotint, and aquatint processes and some feature hand-coloring heightened with gum Arabic. The engraving will include the text when available to send with the plate. Thornton’s engravings featured an uncommon composition in which the subject was seen oversized in relation to the background giving the plates a theatrical presence. "Temple of Flora" is often considered the greatest achievement in British botanical art. Thornton employed some of the foremost artists to create the plates included Peter Charles Henderson, Philip Reinagle, Abraham Pether, and Sydenham Edwards. Richard Earlom, James Caldwall, Thomas Sutherland, and Joseph Constantine Stadler were the engravers for "Temple of Flora". Thornton's "The Temple of Flora" is the greatest English colour-plate flower book. "...[Thornton] inherited a competent fortune and trained as a doctor. He appears to have had considerable success in practice and was appointed both physician to the Marylebone Dispensary and lecturer in medical botany at Guy's and St. Thomas's hospitals. But quite early in his career he embarked on his...great work. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X, and the Duchesse de Berry, Thornton set out to do alone...Numerous important artists were engaged...twenty-eight paintings of flowers commissioned from Abraham Pether, known as `Moonlight Pether,' Philip Reinagle, ...Sydenham Edwards, and Peter Henderson...The result...involved Thornton in desperate financial straits...In an attempt to extricate himself he organized the Royal Botanic Lottery, under the patronage of the Prince Regent...It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing...But he produced...one of the loveliest books in the world." (Alan Thomas, Great Books and Book Collecting, pp.142-144)

Lot: 845 - Seba - Pair of Fish Engravings

This artistically composed, scientific folio engraving is from Albertus Seba’s "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam". The work was published in Amsterdam between 1734 and 1765. Plates from volumes 1 & 2 were published by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith; Volume 3 by Janssonio-Waesbergios; Volume 4 by H. C. Arkesteum and H. Merkum, Peter Schouten. 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 was considered 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: 846 - Seba - Pair of Engravings of Snakes, Plants

This artistically composed, scientific folio engraving is from Albertus Seba’s "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam". The work was published in Amsterdam between 1734 and 1765. Plates from volumes 1 & 2 were published by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith; Volume 3 by Janssonio-Waesbergios; Volume 4 by H. C. Arkesteum and H. Merkum, Peter Schouten. 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 was considered 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: 847 - Seba - Dragon or Guiana Cayman Lizard

This artistically composed, scientific folio engraving is from Albertus Seba’s "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam". The work was published in Amsterdam between 1734 and 1765. Plates from volumes 1 & 2 were published by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith; Volume 3 by Janssonio-Waesbergios; Volume 4 by H. C. Arkesteum and H. Merkum, Peter Schouten. 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 was considered 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: 848 - Seba - Pair of Engravings of Bats, Birds, Snake

This artistically composed, scientific folio engraving is from Albertus Seba’s "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam". The work was published in Amsterdam between 1734 and 1765. Plates from volumes 1 & 2 were published by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith; Volume 3 by Janssonio-Waesbergios; Volume 4 by H. C. Arkesteum and H. Merkum, Peter Schouten. 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 was considered 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: 849 - Catesby, Folio - Green Turtle with Turtle Grass. 2-38

We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". This is from the second edition and was printed in London in 1754. It is on chain-lined, watermarked paper Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands" was the first natural history of American flora and fauna. It is noted as "THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species." (Hunt) "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. "Natural History" was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: Bookplate of Lord Egerton of Tatton; Arpad Plesh (sale at Sotheby's London on 16 June 1975)

Lot: 850 - Catesby, Folio - Pair of Natural History Engravings

Included in this lot: Sapadillo Tree (Wild Dilly) & Convolvulus. 2-87 Great Laurel & Narrow Leaved Laurel. Sup-17 Description of the work: We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". This is from the second edition and was printed in London in 1754. It is on chain-lined, watermarked paper Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands" was the first natural history of American flora and fauna. It is noted as "THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species." (Hunt) "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. "Natural History" was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: Bookplate of Lord Egerton of Tatton; Arpad Plesh (sale at Sotheby's London on 16 June 1975)

Lot: 851 - Catesby, Folio - Cushew Tree (Cashew). Sup-9

We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". This is from the second edition and was printed in London in 1754. It is on chain-lined, watermarked paper Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands" was the first natural history of American flora and fauna. It is noted as "THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species." (Hunt) "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. "Natural History" was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: Bookplate of Lord Egerton of Tatton; Arpad Plesh (sale at Sotheby's London on 16 June 1975)

Lot: 852 - Catesby, Folio - White Curlew. 1-82

We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". This is from the second edition and was printed in London in 1754. It is on chain-lined, watermarked paper Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands" was the first natural history of American flora and fauna. It is noted as "THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species." (Hunt) "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. "Natural History" was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: Bookplate of Lord Egerton of Tatton; Arpad Plesh (sale at Sotheby's London on 16 June 1975)

Lot: 853 - Catesby, Folio - Blue Jay with Bay leaved Smilax. 1-15

We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". This is from the second edition and was printed in London in 1754. It is on chain-lined, watermarked paper Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands" was the first natural history of American flora and fauna. It is noted as "THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species." (Hunt) "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. "Natural History" was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: Bookplate of Lord Egerton of Tatton; Arpad Plesh (sale at Sotheby's London on 16 June 1975)

Lot: 854 - Catesby, Folio - Pigeon of Passage (Passenger Pigeon, extinct) with Red Oak. 1-23

We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". TThis third edition of the work was printed on fine woven paper for Benjamin White in London in 1771. Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands" was the first natural history of American flora and fauna. It is noted as "THE MOST FAMOUS COLOR-PLATE BOOK OF AMERICAN PLANT AND ANIMAL LIFE ... It is a delightful and amusing book [and] a fundamental and original work for the study of American species." (Hunt) "Mark Catesby made a valuable and important contribution to ornithological illustration. He was confident enough to break new ground - to portray his birds more naturally than before, with foliage backgrounds, and to adopt the folio format. He depicted the natural history of one area in its entirety, and often drew from living models ... AS HIS WAS THE EARLIEST PUBLISHED NATURAL HISTORY OF A PART OF THE NEW WORLD, HE HAS BEEN CALLED THE FATHER OF AMERICAN ORNITHOLOGY." (Jackson) Mark Catesby was the first American naturalist and illustrator. Though born in England in 1682, Catesby spent several years of his life in the colonies studying the natural flora and fauna. He was so fascinated he produced the first color plate, natural history work on American flora and fauna. One of the signatures of Catesby’s work is that it incorporates plant and animal life on the same page. Combining the flora and fauna was to save time and money but also began a new style of print composition. He set out to illustrate all the plants, birds, fish, and reptiles in America. His dedication and work greatly contributed to the natural sciences of the 18th century. "Natural History" was almost entirely completed by Mark Catesby. He did his own field research and sketches. Engravers could not be afforded to get the work to print, so Catesby studied under Joseph Goupy where he learned how to etch the plates himself. The result of his labors is the wonderfully detailed and informative work which gave a glimpse of the world beyond. Catesby's work was also the first to abandon the Indian names for his subjects, trying to establish scientific names based on generic relationships. Linnaeus used Catesby's work as the basis for his system of binomial nomenclature for the American species. Provenance: Bookplate of Lord Egerton of Tatton; Arpad Plesh (sale at Sotheby's London on 16 June 1975)