Antique Prints, Maps, & Books of Natural

Lot: 901 - Greene - 6 Amazon Parrot Prints

Included in this lot: Mealy Amazon Yellow-naped Amazon Blue-fronted Amazon Dufresne's Amazon Parrot Double-fronted or Le Vaillant's Amazon Festive Amazon Parrot Description of the work: This alluring woodblock engraving of a parrot with hand-finished coloring is from W. T. Greene’s Parrots in Captivity. George Bell & Sons published the work in London between 1884 and 1887. Benjamin Fawcett is credited for creating the prints after drawings by A. F. Lydon. The work featured comprehensive text on the feeding and rearing of each bird kept in captivity. Parrots in Captivity was expansive in material featuring vibrant illustrations of macaws, cockatoos, lories, parrots, parakeets, and lovebirds. Greene’s work inspired many to attempt raising the parrots as pets, resulting in the steep decline in wild populations of many of the species featured to endangered levels or even extinction.

Lot: 902 - Greene - 3 Cockatoo Prints

Included in this lot: Great Salmon-crested Cockatoo Gang-Gang Cockatoo Great Black Cockatoo Description of the work: This alluring woodblock engraving of a parrot with hand-finished coloring is from W. T. Greene’s Parrots in Captivity. George Bell & Sons published the work in London between 1884 and 1887. Benjamin Fawcett is credited for creating the prints after drawings by A. F. Lydon. The work featured comprehensive text on the feeding and rearing of each bird kept in captivity. Parrots in Captivity was expansive in material featuring vibrant illustrations of macaws, cockatoos, lories, parrots, parakeets, and lovebirds. Greene’s work inspired many to attempt raising the parrots as pets, resulting in the steep decline in wild populations of many of the species featured to endangered levels or even extinction.

Lot: 903 - Gould, Australia - Southern Hairy-nosed Wombat [Phascolomys Latifrons]

This remarkable, originally hand-colored folio lithograph is from John Gould's The Mammals of Australia. The work was published in London for Gould by Taylor and Francis between 1845 and 1863. The lithographs from the work were predominantly completed by John Gould and H. C. Richter with the hairy-nosed wombat done by J. M. Wolf. This work was Gould's only serious artistic endeavor outside the world of birds. The accuracy and beauty of the coloring and images make the the work is still highly regarded today. It represents one of the first concerted efforts to record the extraordinary fauna of Australia. Many of the species were depicted for the first time in his work, and twenty of the animals depicted are now extinct. Gould remarked in the preface, "It was not until I arrived in the country (Australia) and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna." (Gould, Preface) 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 his plates. 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: 904 - Gould, Australia - Mainland Boodie (Likley Extinct) (Burrowing Bettong or "Boodie") [Bettongia Graii]

This remarkable, originally hand-colored folio lithograph is from John Gould's The Mammals of Australia. The work was published in London for Gould by Taylor and Francis between 1845 and 1863. The lithographs from the work were predominantly completed by John Gould and H. C. Richter with the hairy-nosed wombat done by J. M. Wolf. This work was Gould's only serious artistic endeavor outside the world of birds. The accuracy and beauty of the coloring and images make the the work is still highly regarded today. It represents one of the first concerted efforts to record the extraordinary fauna of Australia. Many of the species were depicted for the first time in his work, and twenty of the animals depicted are now extinct. Gould remarked in the preface, "It was not until I arrived in the country (Australia) and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna." (Gould, Preface) 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 his plates. 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: 905 - Gould, Australia - Yellow-footed Rock Wallaby [Petrogale Xanthopus]

This remarkable, originally hand-colored folio lithograph is from John Gould's The Mammals of Australia. The work was published in London for Gould by Taylor and Francis between 1845 and 1863. The lithographs from the work were predominantly completed by John Gould and H. C. Richter with the hairy-nosed wombat done by J. M. Wolf. This work was Gould's only serious artistic endeavor outside the world of birds. The accuracy and beauty of the coloring and images make the the work is still highly regarded today. It represents one of the first concerted efforts to record the extraordinary fauna of Australia. Many of the species were depicted for the first time in his work, and twenty of the animals depicted are now extinct. Gould remarked in the preface, "It was not until I arrived in the country (Australia) and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna." (Gould, Preface) 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 his plates. 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: 906 - Gould, Australia - 5 Bird Lithographs

Included in this lot: Black and White Cuckooshrike [Campephaga Leucomela] Cuckooshrike [Campehaga Karu] Red-eyebrowed Finch [Estrelda Temporalis] White-backed Fairywren [Malurus leuconotus] Yellow-rumped Pardalotus [Pardalotus Xanthopygius] 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: 907 - Gould, Australia - 7 Bird Lithographs

Included in this lot: Partridge Pigeon [Geophaps Smithii] Australia Great Crested Grebe [Podiceps Australis] Sooty Albatross [Diomedea Fuliginosa] Cape Petrel [Daption Capensis] Broad-billed Prion [Prion Vittatus] Black-bellied Storm Petrel [Thalassidroma Melanogaster] Short-tailed Shearwater [Puffinus Brevicaudus] 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: 908 - Gould, Australia - PGould, Australia - Striated Heron [Ardea Rectirostris]

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: 909 - Gould, Australia - Spotted Bowerbird [Chlamydera Guttata]

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: 910 - Barraband, Folio - Australian King Parrot. 55

This incredible first edition, folio stipple engraving is from Francois Levaillant & Jacques Barraband's Histoire naturelle des perroquets. The work was published in Paris by Levrault Freres in 1801. Barraband drew the original drawings for the work which contain such fine detail and marvelous beauty. He was considered on of the best painters of natural history. The plates were primarily printed in color - a remarkable feat for the early 1800s. The French master, Langlois, developed a superb technique to print in color called "a la poupee." After the printing process was complete, each plate was carefully highlighted by hand. Barraband and Levaillant collaborated on the best-known natural history work about parrots, Histoire Naturelle Des Perroquets. The pair would go on to collaborate on other great works including the on here, Histoire Naturelle Des Oiseaux Des Paradis et des Rolliers (Birds of Paradise) and Histoire Naturelle des Promerops (Toucans).

Lot: 911 - Rothschild & Keulemans, Hawaii - 'Apapane or Honeycreeper [Himatione Virens, H. Chloris, H. Wilsoni, H. Stejnegeri]

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: 912 - Rothschild & Keulemans, Hawaii - 'Akepa [Loxops Coccinea]

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: 913 - Rothschild & Keulemans, Hawaii - Koloa or Hawaiian Duck [Anas Wyvilliana]

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: 914 - Rothschild & Keulemans, Hawaii - O'ahu 'o'o or Honeyeater (Extinct) [Moho Apicalis]

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: 915 - Rost - Pair of Celestial or Astronomy Engravings

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: 916 - Rost - Pair of Celestial or Astronomy Engravings

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: 917 - Rost - Pair of Celestial or Astronomy Engravings (Charts, Globe, Armillary Sphere)

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: 918 - Rost - Surface of the Moon

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: 919 - Doppelmayr & Homann - Constellation or Celestial Chart [Globi Coelestis in Tabulas Planas Redacti Pars VI]

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: 920 - Doppelmayr & Homann - Constellation or Celestial Chart [Globi Coelestis in Tabulas Planas Redacti Pars IV]

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: 921 - Doppelmayr & Homann - Constellation or Celestial Chart [Globi Coelestis in Tabulas Planas Redacti Pars III]

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: 922 - Schiller - Christianized Constellation of Saint Paul the Apostle and teacher of the nations or Perseus

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: 923 - Schiller - Christianized Constellation of Saint Mary Magdalene or Cassiopeia

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: 924 - Schiller - Christianized Constellation of Eve, mother of all living [people] or Musca

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: 925 - Hamilton - 4 Engravings of a Painting from a Grecian Vase

This hand-colored engraving is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Recueil de Gravures d'après les Vases Antiques or Collection of Engravings from Ancient Vases... The work was published in Naples in 1791. This is Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.

Lot: 926 - Edmondson - 4 Engravings of Family Crests or Shields

Included in this lot: Family Crest or Shield of Edward Howard, Duke of Norfolk. 1 Family Crest or Shield of Prince Edward Augustus, Duke of York and Albany. 5 Family Crest or Shield of Prince William Augustus, Duke of Cumberland. 6 Family Crest or Shield of Edward Seymour, Duke of Somerset. 6a Description of the work: This folio, heraldry engraving is from Joseph Edmondson's work after Sir William Segar in Baronagium Genealogicum; or the Pedigrees of the English Peers, deduced from the earliest times. The work was published in London in 1764. Edmondson was originally employed to paint coats of arms on carriages in London which led him to study Heraldry and genealogy. He eventually began publishing his work and completed Baronagium Genealogicum. The crests were originally compiled by Segar (1554-1633) and were continued to the present by Edmondson. The work attracted the attention of nobility who hired Edmondson to complete their family pedigrees.

Lot: 927 - Piranesi, Folio - View of the monument erected to Emperor Titus Vespasian [Veduta del Monumento eretto dell'Imperador Tito Vespasiano]

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: 928 - Piranesi, Folio - Remains of the Veronese Aqueducts… [Avanzi degl'Aquedotti Veroniani..]

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: 929 - David Roberts, RSE - 7 Lithographs from Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia

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

Lot: 930 - David Roberts, RSE - 5 Lithographs from Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia

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

Lot: 931 - Prevost - 3 Maps of Saint Lawrence River, Canada

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: 932 - Prevost - Map of South America [Carte De L'Amerique Meridionale]

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: 933 - Prevost - Map of the World (including the Americas, Australia or New Holland, and New Zealand)

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: 934 - Prevost - Map of Virginia, Chesapeake Bay with New Jersey, Maryland, & Pennsylvania

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: 935 - Prevost - Map of New England with New York, Massachusetts, New Hampshire, Lake Erie & Lake Ontario

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: 936 - Munster, pub. 1598 - Pair: View of Rome, Italy & Roman Theater of Verona, Italy (Theatrum Veronense)

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: 937 - Munster, pub. 1598 - Pair: View of Naples, Italy & Map of Sardinia

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: 938 - Munster, pub. 1598 - Map of England & Scotland with part of Ireland

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: 939 - Munster, pub. 1598 - View of Paris, France

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: 940 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of Italy

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: 941 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of the World

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: 942 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of 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: 943 - Ortelius, pub. 1575 - Map of Cyprus

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: 944 - Ortelius, pub. 1575 - Map of India, Asia, East Indies, Japan, New Guinea

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: 945 - Ortelius, pub. 1575 - Map of Scotland

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: 946 - 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: 947 - De Fer - Map of Northern South America ( Amazon River, Guiana, New Granada)

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: 948 - De Fer - Map for the Understanding of Current Affairs concerning the Turks, Tartars, Hungarians, Poles, Swedes, and Muscovites (Eastern Europe and Western Asia, focusing on the regions surrounding the Black Sea and the Baltic Sea)

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: 949 - De Fer - Map of the course of the Nile River from the Mediterranean to its source in Abyssinia (Northern Africa, Egypt, Red Sea, Nubia)

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: 950 - De Fer - Map of the Holy Land

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: 951 - De Fer - Map of Southeast Asia (India, Maldives, Ceylon (Sri Lanka))

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: 952 - Laurie & Whittle - Map of Africa [Africa, with its several Regions and Islands]

This exceptional map is from the very handsome atlas entitled A New and Elegant Imperial Sheet Atlas; Comprehending general and particular maps of every part of the world... The work was published by Robert Holmes Laurie and James Whittle in London in 1814. Each engraving from the atlas has original hand-coloring and is on a large fold out sheet. The maps are after the work of cartographers d'Anville, Dunn, Jefferys, Kitchin and others. Some of the maps from the atlas date to 1794.The map itself is dated to 1794. Robert Laurie and James Whittle meant as apprentices to leading publisher, Robert Sayer. They took over his establishment in 1794 and acquired a large stock of maps. The map here was from the last and most complete edition published in 1814.

Lot: 953 - Laurie & Whittle - Map of Asia [Asia, with its Islands and different Regions, according to their modern Divisions; to which have been added, the Discoveries of Vancouver and Perouse]

This exceptional map is from the very handsome atlas entitled A New and Elegant Imperial Sheet Atlas; Comprehending general and particular maps of every part of the world... The work was published by Robert Holmes Laurie and James Whittle in London in 1814. Each engraving from the atlas has original hand-coloring and is on a large fold out sheet. The maps are after the work of cartographers d'Anville, Dunn, Jefferys, Kitchin and others. Some of the maps from the atlas date to 1794.The map itself is dated to 1794. Robert Laurie and James Whittle meant as apprentices to leading publisher, Robert Sayer. They took over his establishment in 1794 and acquired a large stock of maps. The map here was from the last and most complete edition published in 1814.

Lot: 954 - Laurie & Whittle - Map of the United States [The Southern Dominions belonging to the United States of America]

This exceptional map is from the very handsome atlas entitled A New and Elegant Imperial Sheet Atlas; Comprehending general and particular maps of every part of the world... The work was published by Robert Holmes Laurie and James Whittle in London in 1814. Each engraving from the atlas has original hand-coloring and is on a large fold out sheet. The maps are after the work of cartographers d'Anville, Dunn, Jefferys, Kitchin and others. Some of the maps from the atlas date to 1794.The map itself is dated to 1794. Robert Laurie and James Whittle meant as apprentices to leading publisher, Robert Sayer. They took over his establishment in 1794 and acquired a large stock of maps. The map here was from the last and most complete edition published in 1814.

Lot: 955 - Laurie & Whittle - Map of the World [The World, on the Globular Projection, with all the New Discoveries; to which have been lately added, the Tracks of Vancouver and Pe- rouse, finely engraved and ornamented]

This exceptional map is from the very handsome atlas entitled A New and Elegant Imperial Sheet Atlas; Comprehending general and particular maps of every part of the world... The work was published by Robert Holmes Laurie and James Whittle in London in 1814. Each engraving from the atlas has original hand-coloring and is on a large fold out sheet. The maps are after the work of cartographers d'Anville, Dunn, Jefferys, Kitchin and others. Some of the maps from the atlas date to 1794.The map itself is dated to 1794. Robert Laurie and James Whittle meant as apprentices to leading publisher, Robert Sayer. They took over his establishment in 1794 and acquired a large stock of maps. The map here was from the last and most complete edition published in 1814.

Lot: 956 - Chatelain - Map of America focused on Florida & Mexico with the Great Lakes and East Coast [Carte contenant le royaume du Mexique et la Floride]

This historic engraving is from Henri Abraham Chatelain's Atlas Historique. The work was published by the author in Amsterdam between 1718 and 1720. The text was compiled by Gueudeville & Garillon. The maps were completed by Chatelain some influenced by Guillaume de l'Isle's work. The work was published in several editions, and the second edition was the first to include additional maps not found in the first including a map of the world, Americas, Europe, Asia, and Africa. Atlas Historique was a highly ambitious and groundbreaking work covering genealogy, cosmography, topography, heraldry, and chronology. It was intended for the general public and the increased fascination with the recently conquered colonies and the new discoveries. Chatelain's maps are an outstanding example of the golden age of French mapmaking. Henri Abraham Chatelain (1684-1743) was a Huguenot or protestant pastor originally from Paris. He was the son of a wealthy Parisian merchant who brought the Spanish use of gold and silver stitching to Paris. He would become best known as a Dutch cartographer and his publication and of Atlas Historique which included numerous maps and engravings depicting geography, history, ethnology, heraldry, and cosmography.

Lot: 957 - La Croix's Geographia Universalis - Two Volumes with 17 Maps, 55 Engravings, & 4 Frontispieces

This fascinating two volume work is Antoine Pherotee de la Croix’s Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise ... Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln ... hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden ... beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This the rare first German edition published in Leipzig in 1697 by Johann Ludwig Gleditsch. Hieronymus Dicelius translated the work into German. The work is bound in contemporary vellum with Spanish edges. There are 4 frontispieces, 17 folding maps, and 55 (two folding) engraved plates. The two volumes are further split into two books each, covering different subjects. The first covers astronomy, second predominantly Europe, the third portion focuses on La Croix’s native country of France, and the fourth covers the rest of the world including the Americas. Each book is given its own title page and frontispiece. "Contains substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn's Eine Nachricht wegen der Landschafft Pennsilvania" (A.-L.) Subject matters in engravings include maps and native people and culture. Book one includes in-text engravings depicting astronomy. There are many charts and lists of people and places throughout the complete work. Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 958 - Karl Bodmer - Mehkskeme-Sukas, Blackfoot Chief & Tatsicki-Stomick, Piekann Chief. 43

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

Lot: 959 - E Curtis, Folio, Japanese Tissue - Acoma Roadway

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: 960 - E Curtis, Folio, Japanese Tissue - Kyello - Santo Domingo

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: 961 - E Curtis, Folio, Japanese Tissue - Sia Buffalo Dancer

Description of the image: The Buffalo dance of the Keres is almost exactly the same as that of the Tewa. The performers are two young men with head-dresses of buffalo-hair and horns, and a girl wearing the usual female costume and a pair of small horns. The head of the hunters' society plays the part of guard. The dance is very strenuous, and the simulated actions of the buffalo are quite realistic and readily comprehended by the spectator. 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: 962 - Chagall - The Orgy Degenerates into a Brawl - L'Orgie Degenere en Rixe

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: 963 - Chagall - The Naked Escape - La Fuite tout Nu

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: 964 - Mucha, Folio - Illustration of Women & Wings. 46

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: 965 - Mucha, Folio - Floral Design or Motif. 40

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: 966 - Mucha, Folio - Floral Design or Motif. 38

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: 967 - Mucha, Folio - Illustrations of Women. 12

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: 968 - Mucha, Folio - Illustration of a Woman. 9

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: 969 - Mucha, Folio - Illustration of Draped Woman. 6

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: 970 - Mucha, Pater - Ornate Prayer Page

This wonderfully illustrated lithograph is from Alphonse Mucha's Le Pater. The work was published in Paris by Champenois et Piazza et Cie in 1899. The work was limited in publication to 510 copies. Mucha felt that this work was his finest achievement as an illustrator and it was first religious illustrations. It was said of this work: “At this auspicious time, the turn of a century, Mucha wanted to deliver to future generations his reflections upon human life and man’s place in the universe. He wished to present the way that leads man to a gradual ascent to the divine ideal. He determined to fulfill these goals in his own version of the Lord’s Prayer.” (Mucha/Art Nouveau, p. 233) The work contained a page that stated the Lord's prayer, a page of Mucha's interpretation of the verses, and his own philosphical response. Mucha illustrated each line of the Lord's prayer using his designs (moon, eight pointed stars) and inspirations from Kabbalah and Masonic philosophy. Mucha represented God as a mysterious shadow representing him as everywhere but invisible. The illustration of the Woman is to represent love, which descends from Heaven. Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement.

Lot: 971 - Witte - Peony

This charming botanical chromolithograph is from Heinrich Witte's Flora. Afbeeldingen en beschrijvingen van boomen, heesters, éénjarige planten, enz., voorkomende in de Nederlandsche tuinen. Oorspronkelijke, naar de natuur vervaardigde teekeningen van A.J. Wendel. The work was published in 1868 in Groningen by J. B. Wolters. The plates were lithographed by A. J. Wendel and include the Dutch text when available. Heinrich Witte (1829-1917) served as the head gardener of the Hortus Botanicus in Leiden. He cultivated many plants for the garden including the Victoria amazonica. His work, Flora, documented his contributions to horticulture and notes on adapting plants to the Dutch climate.

Lot: 972 - Witte - Passion Flower

This charming botanical chromolithograph is from Heinrich Witte's Flora. Afbeeldingen en beschrijvingen van boomen, heesters, éénjarige planten, enz., voorkomende in de Nederlandsche tuinen. Oorspronkelijke, naar de natuur vervaardigde teekeningen van A.J. Wendel. The work was published in 1868 in Groningen by J. B. Wolters. The plates were lithographed by A. J. Wendel and include the Dutch text when available. Heinrich Witte (1829-1917) served as the head gardener of the Hortus Botanicus in Leiden. He cultivated many plants for the garden including the Victoria amazonica. His work, Flora, documented his contributions to horticulture and notes on adapting plants to the Dutch climate.

Lot: 973 - Witte - Iris

This charming botanical chromolithograph is from Heinrich Witte's Flora. Afbeeldingen en beschrijvingen van boomen, heesters, éénjarige planten, enz., voorkomende in de Nederlandsche tuinen. Oorspronkelijke, naar de natuur vervaardigde teekeningen van A.J. Wendel. The work was published in 1868 in Groningen by J. B. Wolters. The plates were lithographed by A. J. Wendel and include the Dutch text when available. Heinrich Witte (1829-1917) served as the head gardener of the Hortus Botanicus in Leiden. He cultivated many plants for the garden including the Victoria amazonica. His work, Flora, documented his contributions to horticulture and notes on adapting plants to the Dutch climate.

Lot: 974 - Witte - Magnolia

This charming botanical chromolithograph is from Heinrich Witte's Flora. Afbeeldingen en beschrijvingen van boomen, heesters, éénjarige planten, enz., voorkomende in de Nederlandsche tuinen. Oorspronkelijke, naar de natuur vervaardigde teekeningen van A.J. Wendel. The work was published in 1868 in Groningen by J. B. Wolters. The plates were lithographed by A. J. Wendel and include the Dutch text when available. Heinrich Witte (1829-1917) served as the head gardener of the Hortus Botanicus in Leiden. He cultivated many plants for the garden including the Victoria amazonica. His work, Flora, documented his contributions to horticulture and notes on adapting plants to the Dutch climate.

Lot: 975 - Van Houtte - 9 Botanical 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: 976 - Van Houtte - 3 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: 977 - Van Houtte - 3 Botanical 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: 978 - Van Houtte - 4 Botanical 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: 979 - Van Houtte - Pair of Bird of Paradise Flower Prints

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

Lot: 980 - Curtis - Pair of Water Lily Engravings

Included in this lot: Amazon Water-Lily. 4823 Water Lily. 1364 Description of the work: 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: 981 - Curtis - Pair of Lily Engravings

Included in this lot: Pompone Lily . 798 Smooth-stalked Martagon or Turk's-Cap-Lily. 1634 Description of the work: 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: 982 - Curtis - 4 Peony Engrravings

Included in this lot: Peony [Paeonia tennifolia]. 926 Peony [Paeonia pubens]. 2264 Peony [Paeonia anemala]. 1754 Peony [Paeonia albiflora]. 1756 Description of the work: 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: 983 - Curtis - 5 Orchid Engravings

Included in this lot: Orchid: Large-flowerd Sobralia. 4446 Orchid [Cattleya Lawrenceana]. 7133 Orchid: Villous Lady's Slipper. 4990 Orchid: The Rev. Mr. Parish's Lady's Slipper. 5791 Orchid: Mr. Charles Green's Mormodes. 5802 Description of the work: 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: 984 - 3 Original Botanical Watercolors of African Daisy & Othona (according to Linnaeus system)

Included in this lot: African Daisy - Arctotis flaccida after Franz for Jacquin African Daisy - Arctotis Calendulacea after Schmid for Jacquin African Daisy - Arctotis acaulis 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: 985 - 4 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Oedera Aliena after Schmid for Jacquin Othonna retrofracta after Herz for Jacquin Cornflower or Knapweed - Centaurea Benecticta after Ledel for Blackwell Zaegea Aleppica after Ledel for Gmelin 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: 986 - 6 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Sida mauritiana after Sedelmaur for Jacquin Othonna zenuissima after Sedelmaur for Jacquin Othonna lingua after Sedelmaur for Jacquin Cornflower or Knapweed - Centaurea Glastifolia after Ledel for Curtis Cornflower or Knapweed - Centaurea Glasatifolia after Ledel for Curtis Crownbeard - Verbesina pinnatifica after Herz 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: 987 - 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: 988 - 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: 989 - 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: 990 - Audubon - 3 Hare or Rabbit Lithographs

Included in this lot: Marsh Hare. 18 Bachman's Hare. 108 Grey Rabbit. 22 Description of the work: 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: 991 - Audubon - 3 Hare Lithographs

Included in this lot: Californian Hare. 112 Swamp Hare. 37 Black-tailed Hare. 63 Description of the work: 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: 992 - Audubon - Common American Deer. 81

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: 993 - Audubon - The Jaguar. 101

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: 994 - Shaw & Nodder - 4 Fish Engravings

Included in this lot: Yellow-striped Sciaena. 1007 Single-spotted Sciaena. 990 Golden Holocentrus. 986 Green-finned Sparus. 979 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 995 - Shaw & Nodder - 3 Kingfisher Engravings

Included in this lot: Red-headed Kingfisher. 317 Tridigitated Kingfisher. 681 White-collared Kingfisher. 269 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 996 - Shaw & Nodder - 4 Hummingbird Engravings

Included in this lot: Topaz-throated Hummingbird. 513 Purple-tailed Hummingbird. 333 Fork-tailed Hummingbird. 222 Harlequine Humming-Bird. 81 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 997 - Russ - 5 Parrot Prints

This beautiful color chromolithograph is from Karl Russ's Die Papageien, ihre Naturgeschichte, Pflege, Zuchtung und Abrichtung translate to The Parrots, Their Natural History. The work was published in Magdeburg in 1881 by Carl Rumpler. Karl Russ (1833-1899) was a German ornithologist. His work was a series depicting foreign 'caged' birds. The work focused on care, breeding, and training, and he helped pioneer modern bird keeping.

Lot: 998 - The Ibis - 3 Pamphlets with 8 Color Bird Lithographs + 1 Map

This attractive collection of 8 hand-colored bird prints and 1 map is from The Ibis, a magazine of general ornithology authored by Philip & William Lutley Sclater. The work was published in London by John van Voorst (and successors) circa 1859 to 1900. The Ibis was the official periodical of the British Ornithologist’s Union. The Ibis was a long running periodical which began in 1859 and continued until 2007. Its earlier lithographs were after noted artists including J. G. Keulemans, J. Wolf, G. E. Lodge, H. Gronvold and others. The Ibis is noted as the best and most influential ornithology periodical published in the English language. Casey Wood described the periodical as “The premier publication of its kind in the English language [and] the most practical and best-edited ornithological periodical in any language.”

Lot: 999 - British Birds - Volume with 11 Originally Hand-colored Engravings (Likely by Thomas Bewick)

This quaint book is a children’s edition of The History of British Birds entitled, The History of British Birds: Illustrated by Twelve Coloured Engravings of Birds, Their Nests, & Eggs.. The work was published in 1807 in London by Richard Phillips. The book has a red spine with gilded letters, and blue covers. While originally advertised with 12 coloured engravings, this specific copy only contains 11. The engravings certainly imitate the style of James Bolton, but the title page lists no author, but rather the same author as The History of Domestic Quadrupeds which is also credited to Thomas Bewick. Thomas Bewick (1753-1828) was a talented English wood-engraver, who often worked with children’s books before publishing A General History of Quadrupeds and The History of British Birds. Some of his work is now located in the British Museum.

Lot: 1000 - Spratt's - Volume with 12 Originally Hand-colored Lithographs

This volume with 12 hand-colored lithographs is Mrs. G. Spratt’s The Language of Birds comprising Poetic and Prose Illustrations of the Most Favourite Cage Birds, with Twelve Highly-Coloured Plates. The work was published in London by Saunders and Otley in 1837. The volume is bound in brown Morocco with gold gilt details. It includes all twelve vibrantly colored lithographs.

Lot: 1001 - Lemaire - Parrots. 35

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: 1002 - Lemaire - Parrots. 38

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: 1003 - Lemaire - Scarlet Macaw. 29

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: 1004 - Lemaire - Blue & Yellow Macaw. 30

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: 1005 - Lemaire - Bird of Paradise. 21

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: 1006 - Lemaire - Bird of Paradise. 22

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: 1007 - Linnaeus & Sibly - Pair of Bird Engravings (Oriole, Magpie)

Included in this lot: The Golden Oriole The Vardiole Magpie Description of the work: 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: 1008 - Linnaeus & Sibly - 7 Bird Engravings (Touraco, Motmot, Roller, Shrike, Grackle, Cuckow)

Included in this lot: The Touraco or Crested Cuckoo of Africa The Motmot The Garrulous Roller The Great Cinereous Shrike or Butcher Bird The Antigua Shike, Cock & Hen The Minor Grakles, Greater and Less The Spotted Cuckow Description of the work: 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: 1009 - Linnaeus & Sibly - 7 Bird of Prey Engravings

Included in this lot: The Crested Vulture with Snake The King of the Vultures The Passerina or Little Owl The Golden Eagle The Common Falcon The Buzzard The Indian Falcon Description of the work: 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: 1010 - Linnaeus & Sibly - Frontispiece of Natural History of Birds + Title Page

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: 1011 - 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: 1012 - Martinet & Buffon - Pair of Kingfisher 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: 1013 - Martinet & Buffon - Pair of Parrot 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: 1014 - Martinet & Buffon - Peacock. 433

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: 1015 - Nozeman - Great Spotted Woodpecker with Nest & Young

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

Lot: 1016 - Edwards - Dodo Bird with Hamster. 294

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

Lot: 1017 - Manetti - Razorbill (relative to Great Auk) [Alca major]. 497

This originally hand-colored engraving is from Saverio Manetti's work Storia naturale degli Uccelli or A Natural History of Birds. The prints were drawn and etched by Violante Vanni and Lorenzo Lorenzi with the text penned by Saverio Manetti. The work was published in Florence, Italy between 1767 and 1776 by F. Mouck, C. Cambiagi, and Giuseppe Vanni. Storia naturale degli Uccelli was 'larger, better engraved and more vividly coloured than any previous book on birds', notable for its lively posturing of the specimens which seem to reflect 'the habits and mannerisms of contemporary Italian society' (Dance). It is "one of the half-dozen or so Great Bird Books in the collector's sense" (Fine Bird Books). Dance p.70; Nissen IVB 588; Wood p.450; Fine Bird Books p.10; Zimmer I, 241. Each bird engraving shows remarkable personality and detail, many of the birds often taking on an almost human personality type. Manetti drew his work predominantly from real specimens. The work was one of the largest ornithology undertakings to that point in time. This beautiful plate comes from Storia naturale degli uccelli, of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)

Lot: 1018 - Manetti - Carolina Parrot [Psittacus luteo ac rubro capite]. 121

This originally hand-colored engraving is from Saverio Manetti's work Storia naturale degli Uccelli or A Natural History of Birds. The prints were drawn and etched by Violante Vanni and Lorenzo Lorenzi with the text penned by Saverio Manetti. The work was published in Florence, Italy between 1767 and 1776 by F. Mouck, C. Cambiagi, and Giuseppe Vanni. Storia naturale degli Uccelli was 'larger, better engraved and more vividly coloured than any previous book on birds', notable for its lively posturing of the specimens which seem to reflect 'the habits and mannerisms of contemporary Italian society' (Dance). It is "one of the half-dozen or so Great Bird Books in the collector's sense" (Fine Bird Books). Dance p.70; Nissen IVB 588; Wood p.450; Fine Bird Books p.10; Zimmer I, 241. Each bird engraving shows remarkable personality and detail, many of the birds often taking on an almost human personality type. Manetti drew his work predominantly from real specimens. The work was one of the largest ornithology undertakings to that point in time. This beautiful plate comes from Storia naturale degli uccelli, of which Peter Dance writes "The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767, and [based on birds taken from the collection of Giovanni Gerini], it was completed ten years later. It was larger, better engraved and more vividly coloured than any previous work on birds, but these are not its only claim to fame. The attitudes of the birds themselves give this book its unique character. Strutting, parading, posturing, and occasionally flying....are birds whose real-life counterparts would surely disown them, and not without reason, for Manetti seems in these pictures to be depicting the human comedy, the habits and mannerisms of contemporary Italian society. His book may still be rated among the very greatest bird books, if only for its magnificent comicality" (S. Peter Dance, The Art of Natural History: Animal Illustrators and their Work. London: 1978)

Lot: 1019 - Weinmann - Pair of Citrus 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: 1020 - Weinmann - Pair of Cactus 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: 1021 - Weinmann - Pair of Plum 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: 1022 - Weinmann - 3 Rose 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: 1023 - Buchoz - Rose & Moth

This beautiful, originally hand-colored engraving is from Pierre Joseph Buchoz's Collection Précieuse et Enluminée des fleurs les plus Belles et les plus Curieuses, qui se cultivent tant dans les jardins de la Chine que dans ceux de l’Europe or Precious and Illuminated Collection of the Most Beautiful and the Most Peculiar Flowers Cultivated in the Gardens of China and in Those of Europe. The work was published in Paris between 1776 and 1779 by Debure l'aîné et chez l'Auteur. The flowers were often presented with insects, butterflies, or birds. The engravings illustrated plants of China and Europe. Pierre-Joseph Buchoz (1731-1807) was a French physician, lawyer, and naturalist. He was highly interested in Chinese culture and followed after Voltaire introducing 'Chinoiserie' to the European audience. He was the first to produce a botanical work following this tradition. The engravings "have the decorative qualities which we have always associated with Far Eastern art." (Blunt and Stearn) The beautiful images in the work were drawn from flowers cultivated in gardens in China and Europe in the 18th century. Buchoz’s engravings are easily recognized by their strong detail and their visually appealing balanced composition. As stated by art historian Michael Sullivan, these engravings are “remarkable from the technical point of view” for the way in which “the engraver has not merely transmitted the line... but has managed to suggest, with the burin, the tone of Chinese watercolour. Only when we look carefully at these pictures do we realize that they are engraved and not drawn with the brush.”

Lot: 1024 - Buchoz - Peony & Moth

This beautiful, originally hand-colored engraving is from Pierre Joseph Buchoz's Collection Précieuse et Enluminée des fleurs les plus Belles et les plus Curieuses, qui se cultivent tant dans les jardins de la Chine que dans ceux de l’Europe or Precious and Illuminated Collection of the Most Beautiful and the Most Peculiar Flowers Cultivated in the Gardens of China and in Those of Europe. The work was published in Paris between 1776 and 1779 by Debure l'aîné et chez l'Auteur. The flowers were often presented with insects, butterflies, or birds. The engravings illustrated plants of China and Europe. Pierre-Joseph Buchoz (1731-1807) was a French physician, lawyer, and naturalist. He was highly interested in Chinese culture and followed after Voltaire introducing 'Chinoiserie' to the European audience. He was the first to produce a botanical work following this tradition. The engravings "have the decorative qualities which we have always associated with Far Eastern art." (Blunt and Stearn) The beautiful images in the work were drawn from flowers cultivated in gardens in China and Europe in the 18th century. Buchoz’s engravings are easily recognized by their strong detail and their visually appealing balanced composition. As stated by art historian Michael Sullivan, these engravings are “remarkable from the technical point of view” for the way in which “the engraver has not merely transmitted the line... but has managed to suggest, with the burin, the tone of Chinese watercolour. Only when we look carefully at these pictures do we realize that they are engraved and not drawn with the brush.”

Lot: 1025 - Buchoz - Iris, Moth, & Butterfly

This beautiful, originally hand-colored engraving is from Pierre Joseph Buchoz's Collection Précieuse et Enluminée des fleurs les plus Belles et les plus Curieuses, qui se cultivent tant dans les jardins de la Chine que dans ceux de l’Europe or Precious and Illuminated Collection of the Most Beautiful and the Most Peculiar Flowers Cultivated in the Gardens of China and in Those of Europe. The work was published in Paris between 1776 and 1779 by Debure l'aîné et chez l'Auteur. The flowers were often presented with insects, butterflies, or birds. The engravings illustrated plants of China and Europe. Pierre-Joseph Buchoz (1731-1807) was a French physician, lawyer, and naturalist. He was highly interested in Chinese culture and followed after Voltaire introducing 'Chinoiserie' to the European audience. He was the first to produce a botanical work following this tradition. The engravings "have the decorative qualities which we have always associated with Far Eastern art." (Blunt and Stearn) The beautiful images in the work were drawn from flowers cultivated in gardens in China and Europe in the 18th century. Buchoz’s engravings are easily recognized by their strong detail and their visually appealing balanced composition. As stated by art historian Michael Sullivan, these engravings are “remarkable from the technical point of view” for the way in which “the engraver has not merely transmitted the line... but has managed to suggest, with the burin, the tone of Chinese watercolour. Only when we look carefully at these pictures do we realize that they are engraved and not drawn with the brush.”

Lot: 1026 - Buchoz - Sunflower

This beautiful, originally hand-colored engraving is from Pierre Joseph Buchoz's Collection Précieuse et Enluminée des fleurs les plus Belles et les plus Curieuses, qui se cultivent tant dans les jardins de la Chine que dans ceux de l’Europe or Precious and Illuminated Collection of the Most Beautiful and the Most Peculiar Flowers Cultivated in the Gardens of China and in Those of Europe. The work was published in Paris between 1776 and 1779 by Debure l'aîné et chez l'Auteur. The flowers were often presented with insects, butterflies, or birds. The engravings illustrated plants of China and Europe. Pierre-Joseph Buchoz (1731-1807) was a French physician, lawyer, and naturalist. He was highly interested in Chinese culture and followed after Voltaire introducing 'Chinoiserie' to the European audience. He was the first to produce a botanical work following this tradition. The engravings "have the decorative qualities which we have always associated with Far Eastern art." (Blunt and Stearn) The beautiful images in the work were drawn from flowers cultivated in gardens in China and Europe in the 18th century. Buchoz’s engravings are easily recognized by their strong detail and their visually appealing balanced composition. As stated by art historian Michael Sullivan, these engravings are “remarkable from the technical point of view” for the way in which “the engraver has not merely transmitted the line... but has managed to suggest, with the burin, the tone of Chinese watercolour. Only when we look carefully at these pictures do we realize that they are engraved and not drawn with the brush.”

Lot: 1027 - Brookshaw, Folio - Pair of Grape Engravings

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: 1028 - Brookshaw, Folio - Melon

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: 1029 - Thornton, Folio - Flora dispensing Her Favours on the Earth

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: 1030 - Thornton, Folio - Large Flowering Sensitive Plant with Hummingbirds

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: 1031 - Thornton, Folio - A Group of Carnations

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: 1032 - Redoute, Folio - Lily [Lilium Bulbiferum]

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

Lot: 1033 - Redoute, Folio - Lily [Lilium Superbum]

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

Lot: 1034 - Redoute, Folio - Tulip [Tulipa Suaveoleus]

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

Lot: 1035 - Redoute, Folio - Rose [Rosa centifolio caryophyllea]

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: 1036 - Redoute, Folio - Rose [Rosa centifolia crenata]

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: 1037 - Redoute's Les Roses - Complete Work with 160 Stipple Engravings

This complete work was issued with 160 stipple engravings is Pierre Joseph Redoute's Les Roses. The work was published in Paris between 1824 and 1826 by Claude Antoine Thory. This is the second edition of the work overall, but in the first octavo size. The work is in the original 40 fascicles with 4 engravings each all with original hand-coloring and housed in two stunning slipcases. The slipcases serve as the spines to the folders covered in modern long-grain red half-Morocco. The title, volume number, and author's name are all gilt in rocaille design. Pierre Joseph Redoute (1759-1840) was a French painter and botanist. 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: 1038 - Seba - Pair of Butterfly or Moth 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: 1039 - Seba - Pair of Butterflies or Moths 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: 1040 - Catesby, Folio - 3 Bird Engravings

Included in this lot: Chamaedaphne (Mountain Laurel) with Pitch Apple. 2-98 Plumeria Flore Niveo (White Frangipanni). 2-93 Valelloe (Vanilla). Sup-7 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". 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)

Lot: 1041 - Catesby, Folio - Brown Viper with Colocasia. 2-45

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: 1042 - Catesby, Folio - Water Frog (Green Frog) with Northern Pitcher Plant (Carnivorous). 2-70

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: 1043 - Catesby, Folio - Whip-poor-will with Ginseng or Nin-sin of the Chinese. Sup-16

We are pleased to offer this folio engraving from Mark Catesby’s "The Natural History of Carolina, Florida and the Bahama Islands: Containing the Figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants ... Together with their Descriptions in English and French". This 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: 1044 - Catesby, Folio - Booby. 1-87

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: 1045 - Catesby, Folio - Red headed Woodpecker with Water Oak. 1-20

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: 1046 - Merian, Folio - Sweet Potato with Moth Metamorphosis. 41

This exquisite hand-colored folio engraving is from Maria Sibylla Merian's Histoire générale des insectes de Surinam et de toute l'Europe, contenant leurs descriptions, leurs fgures, leurs differenes metamorphoses commonly referred to as Insects of Surinam. This is from the third edition published in Paris by L. C. Desnos in 1771. Maria Sibylla Merian was a naturalist and artist. Her contributions to entomology were nevery truly acknowledged in her lifetime, but she is considered a groundbreaker in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis which had not been studied so comprehensively before her work. The engravings were done by J. Mulder, P. Sluyter and A. Stopendaal, all after Merian. The work is considered to be one of the most beautiful if not most famous illustrated natural history works of the 18th century. The work was the result of Merian's trip with her daughter Dorothea to Surinam in 1699. The pair studied and recorded plants and insects for two year under difficult conditions. They came back to Amsterdam with specimens and their work and produced this astounding work. 'Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book'; if Gould and Audubon have 'a spiritual ancestor, then it is difficult to think of a more worthy claimant to the title than Maria Sibylle Merian' (op. cit. p. 51 It is 'easily the most magnificent work on insects so far produced ... [combining] science and art in unequal proportions, meeting the demands of art at the expense, when necessary, of science. Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book' (Peter Dance, The Art of Natural History , pp.50-51)

Lot: 1047 - Gould - Derby's Puff-leg Hummingbird with Orchid [Eriocnemis Derbianus]

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Monograph of the Trochilidae, or Family of Hummingbirds. The work was published in London between 1849 an 1887. Family of Hummingbirds undoubtedly featured some of Gould’s most desired plates. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. 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: 1048 - Gould - Floresi's Flamebearer with Cactus [Selasphorus Floresii]

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Monograph of the Trochilidae, or Family of Hummingbirds. The work was published in London between 1849 an 1887. Family of Hummingbirds undoubtedly featured some of Gould’s most desired plates. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. 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: 1049 - Elliot - Red Bird of Paradise

This stunning folio lithograph is from Daniel Giraud Elliot's A Monograph of the Paradiseidae, or Birds of Paradise. The work was published in London by the Elliot for subscribers in 1873. Each originally hand-colored lithograph was done by J. Smit after Joseph Wolf's illustrations and colored by J. D. White. "The plates in this work, almost as magnificent as the birds they portray, were the fruits of Elliot's considerable wealth, Wolf's great artistry, and both men's profound knowledge and love of birds." (Dance) Elliot writes of the illustrations in his preface to the work: "The drawings of Mr. Wolf will, I am sure, receive the admiration of those who see them; for, like all that artist's productions, they cannot be surpassed, if equalled, at the present time. Mr. J. Smit has lithographed the drawings with his usual conscientious fidelity, and in his share of the work has left me nothing to desire... In the colouring of the plates Mr. J.D. White has faithfully followed the originals; and in the difficult portions where it was necessary to produce the metallic hues, he has been very successful." Daniel Giraud Elliot (1835-1915) was an American zoologist. He produced numerous, stunning natural history works recruiting artists that helped form some of John Gould's works. He served as the first curator of zoology for the Field Museum in Chicago. He was the founder of the American Ornithologist Union and one of the founders of the American Museum of Natural History in New York City. Elliot’s lithographs are some of the most valuable American bird plates.

Lot: 1050 - Lear & Gould - Toco Toucan

This exquisite lithograph is from the first edition of John Gould's A Monograph of the Ramphastidae, or Family of Toucans. The work was published in London between 1833 and 1835. 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, his wife Elizabeth, Edward Lear, 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.