Antique Prints, Maps, & Books of Natural

Lot: 1001 - David Roberts, RSE - 3 Frontispiece or Title Pages

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: 1002 - David Roberts, RSE - 3 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: 1003 - Hamilton & Fabris - 4 Engravings of Volcanoes (from Campi Phlegraei)

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

Lot: 1004 - 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: 1005 - Piranesi, Folio - View of the Fountain of the Aqua Paola on the Janiculum Hill [Veduta del Castello dell'Acqua Paola sul Monte Aureo]

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: 1006 - Piranesi, Folio - View of the Ponte Molle (Milvian Bridge) over the Tiber, two miles from Rome… [Veduta del Ponte Molle sul Tevere due miglia lontan da Roma..]

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: 1007 - Piranesi, Folio - Colosseum – View of the Arch of Constantine and the Flavian Amphitheatre, called the Colosseum [Veduta dell'Arco di Costantino, e dell'Anfiteatro Flavio detto il Colosseo]

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: 1008 - Wolf, Folio, Australia - Australian mycteria (Mycteria Australis)

This beautiful first edition, folio lithograph is from Joseph Wolf's Zoological Sketches. The work was made for the Zoological Society of London in London by Henry Graves & Company between 1856 and 1867. The subscriber's list for the work only notes 94 copies. The work was completed by Joseph Smit after Joseph Wolf's art. Each lithograph is cut to the edge of the image and mounted on a card to imitate the look of a watercolor. Joseph Wolf (1820-1899) was a German artist. He is considered on the of the best all-around animal painters that existed. This specific work was commissioned by the Council of the Zoological Society in 1852. It's purpose was to provide a scientific and artistic record of the living form and expression of many rare species of animals.

Lot: 1009 - Wolf, Folio, Australia - Mooruk or Dwarf Cassowary (Casuarius bennettii)

This beautiful first edition, folio lithograph is from Joseph Wolf's Zoological Sketches. The work was made for the Zoological Society of London in London by Henry Graves & Company between 1856 and 1867. The subscriber's list for the work only notes 94 copies. The work was completed by Joseph Smit after Joseph Wolf's art. Each lithograph is cut to the edge of the image and mounted on a card to imitate the look of a watercolor. Joseph Wolf (1820-1899) was a German artist. He is considered on the of the best all-around animal painters that existed. This specific work was commissioned by the Council of the Zoological Society in 1852. It's purpose was to provide a scientific and artistic record of the living form and expression of many rare species of animals.

Lot: 1010 - Gould, Australia - 6 Bird Lithographs

Included in this lot: White-throated Tree-Creeper [Climacteris Picumnus] Black-capped Sittela [Sittella Pileata] Black-tailed Treecreeper [Climaucteris Melanura] Red-eyebrowed Tree Creeper [Climacteris Erythrops] Tawny Sphenaecus [Sphenaeacus Galautotes] Striated Sittella [Sittella Striata] 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: 1011 - Gould, Australia - 6 Bird Lithographs

Included in this lot: Restless Flycatcher [Seisura Inquieta] Australian Golden Whistler [Pachycephala Pectoralis] Black-tailed Whistler [Pachycephala Melanura] White-eyebrowed Robin [Petroica Superciliosa] White-throated Honeyeater [Melithrreptus Albogularis] Tasmaniana Honeyeater [Meliphaga Australasiana] 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: 1012 - Gould, Australia - Superb Fruit-Dove [Ptilinopus Superbus]

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: 1013 - Gould, Australia - Great Cormorant [Phalacrocorax Carboides]

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: 1014 - Gould, Austalia - White Egret (Little Egret form) [Herodias Immaculata]

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: 1015 - Rothschild & Keulemans, Hawaii - Nest & Eggs of Chasiempis Gayi & Himatione Virens & 2 Anatomy Plates

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: 1016 - Rothschild & Keulemans, Hawaii - Akeke'e or Honeycreeper [Loxops Caeruleirostris]

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: 1017 - Rothschild & Keulemans, Hawaii - Lesser Koa-finch or Honeycreeper (Extinct) [Telespiza Flaviceps]

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: 1018 - Rothschild & Keulemans, Hawaii - Black Mamo or Honeycreeper (Extinct) [Drepanorhynchus Funereus]

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: 1019 - Rothschild & Keulemans, Hawaii - Hawai'I o'o' or Honeyeater (Extinct) [Moho Nobilis]

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: 1020 - Stan Galli - Tourism Poster of Hawaii for United Airlines

This vibrant wall poster was done by Stan Galli for United Airlines to promote tourism to Hawaii. It was published circa 1960. The image depicts a fun scene off the coast of Hawaii in an outrigger canoe. Galli's style is certainly representative of marketing features of the time. Stan Galli (1912-2009) was a native of California and studied at the California Art Institute. Galli illustrated for magazines, postage stamps, travel posters, Navy training manuals, landscape paintings, and other advertisements.

Lot: 1021 - Fessenkov & Rozhovsky - 4 Gasous Dust Nebulae Photographs

Included in this lot: Gaseous nebula NGC 6611 (M. 16) Gas and dust nebulae NGC 6514 (Trifid) and NGC 6523 (Lagoon) in the constellation Sagittarius The group of filamentary nebulae NGC 6960, 6992-5 and unnamed in the constellation Cygnus The unnamed nebula and the nebula NGC 6611 in the constellation Serpens Description of the work: This scarce original photograph is from an album entitled Atlas gazovo-pylevykh tumannostei [Atlas of Gaseous Dust Nebulae]. The collection was created by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. It was published in 1953 in Almaty, Astrophysical Institute, Academic of Sciences of the Kazakh, SSR (Kazakhstan, USSR). This is a truly impressive mounted photograph from 1953 with accompanying text page. The text and photos were compiled by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. The pair pioneered the studying of gaseous nebulae. Fessenkov & Rozhkovsky were leading Soviet astrophysicists. They began their study of gas-dust galactic nebulae in 1950 and created these photographs. They began the study in order to understand "evolution of structure of nebulae, turbulent phenomena in interstellar clouds and in the vicinity of hot stars." The high-quality photographs illustrated the fine structure of objects formed by the radiation of ionised gas and made it possible to reveal dust scattering the light of stars. Their work was important and the field and inspired further interest in nebulae study. Rozhkovsky discovered 30 new diffuse nebulae. Provenance: Hale Library of the Carnegie Institute (deaccessioned)

Lot: 1022 - Rost - 11 Astronomical Diagrams

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: 1023 - Rost - 8 Astronomical Engravings of Moon, Comet, Eclipse

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: 1024 - 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: 1025 - Bevis, Rare - Constellation or Star Chart of Eagle, Dolphin, Arrow

This rare constellation chart is from John Bevis's Uranographia; or the Celestial Atlas. It was published between 1747 and 1786 in London by John Neale. This engraving is from Bevis's "unpublished" star atlas. Bevis began production of the atlas in 1747 with the intent to produce a large atlas. He had found 5 subscribers, and sold 30 copies, but his publisher, John Neale, went bankrupt in 1750 where the plates were pulled. His executor, John Horsfall, received the plates upon Bevis's death in 1771. At Horsfall's death in 1785, his estate had 6 copies of the work with 51 star charts included. This along with some unnumbered amount of loose engravings entered the market in 1786. The charts were all produced in Bevis's lifetime by his hand, but the sale of his work was predominantly performed after his passing. It is believed about 21 complete sets were done. (Kilburn, Kevin; Jay M. Pasachoff; and Owen Gingerich, "The Forgotten Star Atlas: John Bevis's Uranographia Brittanica." In: Journal of the History of Astronomy 34 (2003), pp.125-144) Bevis's work included 600 more stars than the last star atlas of Flamsteed. Bevis based his work upon Bayer's Uranometria. His work included more stars and accurate positions to that of Bayer's. He included nine Messier objects in his charts, five of which had never before been published. John Bevis (1695-1771) was a British physician and amateur astronomer. He discovered the Crab Nebula and was one of two observers in Britain of Halley's Comet in 1759. HE created his own private observatory in North London in 1738. Bevis is believed to have passed from falling from his telescope.

Lot: 1026 - Bevis, Rare - Constellation or Star Chart of Ophiucus, Serpent Catcher

This rare constellation chart is from John Bevis's Uranographia; or the Celestial Atlas. It was published between 1747 and 1786 in London by John Neale. This engraving is from Bevis's "unpublished" star atlas. Bevis began production of the atlas in 1747 with the intent to produce a large atlas. He had found 5 subscribers, and sold 30 copies, but his publisher, John Neale, went bankrupt in 1750 where the plates were pulled. His executor, John Horsfall, received the plates upon Bevis's death in 1771. At Horsfall's death in 1785, his estate had 6 copies of the work with 51 star charts included. This along with some unnumbered amount of loose engravings entered the market in 1786. The charts were all produced in Bevis's lifetime by his hand, but the sale of his work was predominantly performed after his passing. It is believed about 21 complete sets were done. (Kilburn, Kevin; Jay M. Pasachoff; and Owen Gingerich, "The Forgotten Star Atlas: John Bevis's Uranographia Brittanica." In: Journal of the History of Astronomy 34 (2003), pp.125-144) Bevis's work included 600 more stars than the last star atlas of Flamsteed. Bevis based his work upon Bayer's Uranometria. His work included more stars and accurate positions to that of Bayer's. He included nine Messier objects in his charts, five of which had never before been published. John Bevis (1695-1771) was a British physician and amateur astronomer. He discovered the Crab Nebula and was one of two observers in Britain of Halley's Comet in 1759. HE created his own private observatory in North London in 1738. Bevis is believed to have passed from falling from his telescope.

Lot: 1027 - Schiller - Christianized Constellation of Ursa Minor (Saint Michael the Archangel, head of the army)

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: 1028 - Schiller - Christianized Constellation of Ursa Major (Barque of Saint Peter the Apostle)

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: 1029 - Schedel, pub. 1493 - 6 Pages with Towns, Lineage Chart, & Relgious & Historic Figures

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

Lot: 1030 - Schedel, pub. 1493 - View of Erfurt, Germany

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

Lot: 1031 - Munster, pub. 1598 - View of Lisbon, Portugal

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: 1032 - Munster, pub. 1598 - Map of Cairo, Egypt

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: 1033 - Munster, pub. 1598 - Map of the North Sea with Greenland, part of America, part of Europe

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: 1034 - Munster, pub. 1598 - Rhinoceros after Albrecht Durer

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: 1035 - Munster, pub. 1598 - God Creating the Universe, Genesis

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: 1036 - Keulen, Rare - Map of Skagerack

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

Lot: 1037 - Keulen, Rare - Coastal Map of Italy, Dalmatia and Greece

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

Lot: 1038 - Keulen, Rare - Map of the Coast of Morocco

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

Lot: 1039 - Laurie & Whittle - Map of Japan [The Empire of Japan, with the Kingdom of Corea, &c.]

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: 1040 - Laurie & Whittle - Map of South America [South America, with its several Divisions, according to the Possessions of the European Powers]

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: 1041 - Laurie & Whittle - Map of the United States [The Middle 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: 1042 - Laurie & Whittle - Map of the World [The World, on Mercator's Projection; by S. Dunn.]

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: 1043 - De L'Isle - Pair of Maps of Russia, Moscow, Ukraine

Included in this lot: Map of North Muscovy, including Russian Lapland Map of Southern Muscovy, including Ukraine Description of the work: This historic map with original outline color is from Guillaume de l'Isle (Delisle)'s atlas entitled New atlas containing all the parts of the world, where the Empires, Monarchies, Kingdoms, States, Republics &c. This is from the Dutch edition of the work which was published in Amsterdam circa 1744 by Jean Covens and Cornelius Mortier. Guillaume de l'Isle (1675-1726) was son of a cartographer and a pupil of Jean Dominique Cassini, who among other important contributions, aligned the study of astronomy to the study of geography. Under Cassini's direction, observations were made from locations all over the world that enabled longitudinal calculations to be made with much greater accuracy. De l'Isle carried on this exacting work with remarkable dedication and integrity, constantly revising and improving his maps. While precision was his primary goal, his maps are invariably elegant and attractive.

Lot: 1044 - De L'Isle - Map of Hungary, Transylvania, Croatia

This historic map with original outline color is from Guillaume de l'Isle (Delisle)'s atlas entitled New atlas containing all the parts of the world, where the Empires, Monarchies, Kingdoms, States, Republics &c. This is from the Dutch edition of the work which was published in Amsterdam circa 1744 by Jean Covens and Cornelius Mortier. Guillaume de l'Isle (1675-1726) was son of a cartographer and a pupil of Jean Dominique Cassini, who among other important contributions, aligned the study of astronomy to the study of geography. Under Cassini's direction, observations were made from locations all over the world that enabled longitudinal calculations to be made with much greater accuracy. De l'Isle carried on this exacting work with remarkable dedication and integrity, constantly revising and improving his maps. While precision was his primary goal, his maps are invariably elegant and attractive.

Lot: 1045 - De L'Isle - Map of Ancient Italy

This historic map with original outline color is from Guillaume de l'Isle (Delisle)'s atlas entitled New atlas containing all the parts of the world, where the Empires, Monarchies, Kingdoms, States, Republics &c. This is from the Dutch edition of the work which was published in Amsterdam circa 1744 by Jean Covens and Cornelius Mortier. Guillaume de l'Isle (1675-1726) was son of a cartographer and a pupil of Jean Dominique Cassini, who among other important contributions, aligned the study of astronomy to the study of geography. Under Cassini's direction, observations were made from locations all over the world that enabled longitudinal calculations to be made with much greater accuracy. De l'Isle carried on this exacting work with remarkable dedication and integrity, constantly revising and improving his maps. While precision was his primary goal, his maps are invariably elegant and attractive.

Lot: 1046 - De L'Isle - Map of Southern India (Malabar, Coromandel, etc.)

This historic map with original outline color is from Guillaume de l'Isle (Delisle)'s atlas entitled New atlas containing all the parts of the world, where the Empires, Monarchies, Kingdoms, States, Republics &c. This is from the Dutch edition of the work which was published in Amsterdam circa 1744 by Jean Covens and Cornelius Mortier. Guillaume de l'Isle (1675-1726) was son of a cartographer and a pupil of Jean Dominique Cassini, who among other important contributions, aligned the study of astronomy to the study of geography. Under Cassini's direction, observations were made from locations all over the world that enabled longitudinal calculations to be made with much greater accuracy. De l'Isle carried on this exacting work with remarkable dedication and integrity, constantly revising and improving his maps. While precision was his primary goal, his maps are invariably elegant and attractive.

Lot: 1047 - Ortelius, pub. 1575 - Map of the British Isles (England, Scotland, Ireland)

This stunning folio map is from Abraham Ortelius's Theatrum orbis terrarum. The work was published in Antwerp by Gillis Van den Rade in 1575 (with the first edition being published 1570). The engraved map features Latin text to verso. The maps have been described as "the most outstanding engravings depicting the wide-spread interest in classical geography in the 16th century." (Van der Krogt) The beautiful maps feature Renaissance-style cartouches and decorative work including vessels, sea and mythological monsters, birds, medallions, et al. Noted art historian, James A. Welu, comments on "their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius's Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas's long popularity." (Art and Cartography, pp. 145-146) Theatrum Orbis Terrarum is widely recognized as the first modern atlas which shaped the future of cartography throughout the 17th century. It utilized text and maps to fully explore the known world. "The publication of this atlas [ Theatrum, 1570] marked an epoch in the history of cartography. It was the first uniformly sized, systematic collection of maps of the countries of the world based only on contemporary knowledge and in that sense may be called the first modern atlas." (Tooley) Frans Hogenberg also worked on the publication of this atlas. Abraham Ortelius (1527-1598) was one of the most influential cartographers of the 16th century. He was born in Antwerp, Belgium but traveled throughout Europe where he eventually met Mercator. Ortelius became one of the most important cartographers in history. His largest accomplishment was certainly his atlas entitled Theatrum Orbis Terrarum. He was also appointed Royal Cartographer to King Philip II of Spain.

Lot: 1048 - Ortelius, pub. 1575 - Map of the Holy Land (Palestine)

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: 1049 - Ortelius, pub. 1575 - Map of Africa

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: 1050 - Ortelius, pub. 1575 - Map of the North Sea (America, Greenland, Iceland, Europe, Russia, Arctic Circle)

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: 1051 - De La Croix - View of Prague, Czech Republic

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1052 - De La Croix - View of Constaninople (Istanbul), Turkey

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1053 - De La Croix - View of Mexico

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1054 - De La Croix - Map of South America

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1055 - De La Croix - Map of Africa

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1056 - De La Croix - Map of the West Indies with part of Florida (Antilles Islands)

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1057 - De La Croix - Map of Southern North America with Florida, Virginia, Louisiana, part of Mexico & Texas

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1058 - De La Croix - Map of Canada, New England, Great Lakes (after Sanson)

This fascinating engraving 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 Kayserthümer, Konigreiche unterschieden … beschrieben. Ubersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing: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.) 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: 1059 - Cernoti & Magini's Ptolemy, pub. 1597 - Map of the Ancient World (Europe, Africa, Asia)

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: 1060 - Van Der Aa - Map of Florida, Gulf of Mexico, Cuba, Mexico, Texas, Yucatan Peninsula

This rare historic engraving is by Pieter van der Aa's Naaukeurige Versameling der Gedenk-waardigste Zee en Land-reysen, na Oost en West-Indien. The work was published in Leyden (Leiden) by the author between 1706 and 1707. Pieter van der Aa (1659-1733) was a Dutch cartographer, publisher, and book seller. He was appointed to the bookseller trade from the age of 9 and went on to own a bookshop and auction house. He published many maps in his time, and became best known for his atlases on exploration and noted voyages. Much of what he published was composite atlases in which he utilized many other publishers plates and prints including Carel Allard and Frederik De Wit as well as his own work.

Lot: 1061 - Jansson - Map of Southwest America (Mexico, California) [Nova Hispania, et Nova Galicia]

This handsome map of southwestern North America focused on Mexico and California is entitled Nova Hispania, et Nova Galicia. This map was published first published by Jan Jansson in Arnhem, in 1636, while this particular copy appears in the French edition published between 1652 and 1658, as can be shown through the text on verso. Many major cities in southwest Mexico are depicted on this map, including modern-day Mexico City, Guadalajara, Compostela, etc. The map. The wonderfully designed cartouche includes the Spanish Habsburg coat of arms. This map gives modern readers insight as to which Mexican cities were primary in the 17th century. Jan Janssonius (also known as Johann or Jan Jansson or Janszoon) (1588-1664) was part of an important family of Dutch publishers, printers, and booksellers. They were responsible for many important publications. Jan Jansson was a noted geographer in his own right. He married the daughter of another prominent mapmaker, Jodocus Hondius, and also worked with her brothers Henricus & Jodocus II.

Lot: 1062 - Desnos - Map of the Americas [L'Amerique Meridionale et Septentrionale]

This map is Louis-Charles Desnos’s L’Amerique Meridionale et Septentrionale. It was published by him in Paris in 1766. It is based upon Guillame Danet’s map of 1731, which in turn was based on Delisle’s map of the Americas. The map includes a border of famous European explorers and conquerors, and the bottom left of the map includes short description on each of them. The bottom right of this map includes theories on the Northwest Passage, the answer to which had eluded Europeans at the time. Louis-Charles Desnos (1725-1805) was a French map-maker based in Paris. For a time, he was the Royal Globemaker to Christian VII of Denmark. He was known to have published a very large volume of work, which often put him at odds with rival map-makers and gave him a poor reputation for accuracy during his own time.

Lot: 1063 - Bonne & Desmarest's Atlas Encyclopedique - Two Volumes with 140 Engraved Maps & 2 Frontispieces

This exceptional two volumes with 140 engraved maps is Atlas Encyclopedique by Ricobert Bonne and Nicolas Desmarest. The work was published by Hotel de Thou in Paris in 1787 and 1788. The volumes are bound in decorative contemporary half calf, spines richly gilt, two color labels. The work is complete with 140 engraved maps and 2 frontispieces. There are numerous in-text charts. The work covers every land known at the time, with a handful of world maps, and maps of varying locality describing every part of the world. Rigobert Bonne (1727-1794) was the chief cartographer of France at the end of the monarchy. The maps he drew are highly accurate and less artistic than those that came before, representing a move towards practicality and away from artfulness. Nicolas Desmarest (1725-1815) was a French geologist who, for much of his early life, traveled Europe on foot and was a member of the l’Academie Royale des Sciences Provenance: Modern bookplate present

Lot: 1064 - Bodenehr’s Atlas Curieux - Volume with 56 Engraved Maps & Charts

This historic work is Gabriel Bodenehr’s Atlas Curieux. The work was published in 1704 by the author in Augsburg. The volume is bound in calf skin cover with a flap, no ties. It includes 56 (of 98) engravings mostly maps, 3 charts. The lacking maps are predominantly depicting Germany & Italy. Several pages are loose or detached from the binding.

Lot: 1065 - Catlin, Folio, On Card - Ball Play

George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of

Lot: 1066 - E Curtis, Folio, Japanese Tissue - Acoma Water Carriers

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: 1067 - E Curtis, Folio, Japanese Tissue - An Acoma Woman

This moving photogravure is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 1930 in Cambridge, Massachusetts. This was part of a proposed edition of 500 (though about 272 sets are believed to be completed). The photogravures depict Native Americans from the Tiwa and Keres cultures. Tiwa communities were located near Taos, Picuris, Sandia, Isleta, and Ysleta del Sur (near El Paso). The Keres were located along the Rio Grande at Cochiti, San Felipe, Santa Ana, Santo Domingo / Kewa, and Zia as well as at Acoma and Laguna. Each photogravure is on Japanese tissue on support sheets as issued with Curtis's credit, printer's credit, title, copyright date, and plate number printed on recto. The deckle is preserved on the edges, and they are on the original overmats. The Japanese tissue issue was produced in the smallest number at great expense. It is the most rare issue of his photogravures. The tissue provides a truly refined presentation of Curtis's images. The picture shown is with a presentation mat over the original issue overmats. Curtis's work was a remarkable record of native American life and one of the most ambitious anthropological studies done. W. H. Holmes, Chief of the Bureau of American Ethnology in 1910, stated that this "publication should last for a thousand years." The North American Indian was referred to as “the most gigantic undertaking since the making of the King James Edition of the Bible” and containing “the most exquisite book art of our time.” Edward Sheriff Curtis (1868-1952) was an American photographer and ultimately historian of the American West. He travelled extensively for three decades living with the Native American tribes. He immersed himself in their customs, languages and beliefs. He detailed and photographed the tribes creating a truly comprehensive look into their lives.

Lot: 1068 - Chagall - 5 Etchings from Les Ames Mortes

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: 1069 - Miro, Rare, Signed - Justification Page (Illustration of the Childhood of Ubu)

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

Lot: 1070 - Seguy - 4 Pochoir Compositions with an Oriental Design

This stunning pochoir is from Emile-Seguy’s Samarkande: 20 Compositions en couleurs dans le Style oriental. The work was published between 1920 and 1922 by Ch. Massin, editeur, in Paris. Emile-Allain Seguy (1877-1951) was an important French artist and designer of the Art Deco movement. The designs for this work were likely done prominently for textiles featuring geometric and abstract motifs.

Lot: 1071 - Maitres Affiches by Steinlen - Lait Pur Sterilise

This first edition, folio lithograph after a poster is from Les Maitres de l'Affiche. The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph

Lot: 1072 - Mucha, Folio - Floral Design or Motif. 29

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: 1073 - Mucha, Folio - Floral Design or Motif. 30

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: 1074 - Mucha, Folio - Illustration of Topless Woman with Flowers. 11

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: 1075 - Mucha, Folio - Illustration of Women. 45

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: 1076 - 4 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Calendula Pluvalis after Ledel for Morisson Anthemis Tinctoria after Blackwell for Oeder & Regnault Cineraria crispa after Ledel for Jacquin Cineraria after Ledel 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: 1077 - Pair of Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Echites Domingensis after Ledel for Jacquin Inula Germanica after Ledelmaier 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: 1078 - 3 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Robinia Halodendron after Franz Erica Cinerea after Herz for Curtis Antirrhinum Triphyllum after Ledel for Curtis 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: 1079 - Pair of Botanical Engravings by Knorr & Curtis (Hyacinth & Fritillary)

Engraving of Hyacinths from Knorr This super, originally hand-colored engraving is from Georg Wolfgang Knorr’s Deliciae Naturae Selectae Oder Auserlefenes Natüralien-Cabinet or Selected Delights of Nature, or the Exquisite Collector's Cabinet. The work was published in Dordrecht by Abraham Blusse and Son in 1771. The engravings are by or after Knorr, B. R. Dietschlin, G. F. Dietsch, and others. "It is scarcely an exaggeration to say that the beauty of some of Knorr's illustrations exceeds that of their models and that in all cases the artist's eye has transformed neutral, natural objects into permanent, formal aspects of humanism. The detail and accuracy of Knorr's engravings not only made possible zoological classification but firmly established the distinction between fossils of organic origin and sports of nature." (DSB) Georg Wolfgang Knorr (1705-1761) was a German paleontologist, painter, draftsman, engraver, collector, and art dealer. He learned engraving from Leonhard Blanc and Martin Tyroff and worked on the illustrations in Jacob Scheuchzer’s Physica Sacra. Description of the work: Engraving of Fritillary [Fritillaria Meleagris] from Curtis: Description of the work: This beautiful originally hand-colored engraving is from William Curtis's Flora londinensis. The work was published in London for Curtis between 1777 and 1798.

Lot: 1080 - Van Houtte - 3 Prints of the Victoria Regia Water Lily

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

Lot: 1081 - Van Houtte - 6 Leafy Plant 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: 1082 - Van Houtte - 4 Orchid Prints

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

Lot: 1083 - Van Houtte - 5 Masdevallia Orchid Prints

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

Lot: 1084 - Van Houtte - 5 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: 1085 - Curtis - Eastern Poppy [Papaver orientale]. 57

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: 1086 - Cramer - Butterfly. 182

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: 1087 - Cramer - Butterfly. 157

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: 1088 - Cramer - Butterfly. 51

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: 1089 - Audubon - Pair of Lithographs of Groundhog & Rat-Musquash

Included in this lot: Maryland Marmot Woodchuck Groundhog. 2 Musk Rat-Musquash. 13 Description of the work:

Lot: 1090 - Audubon - Musk Ox. 111

This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York 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: 1091 - Audubon - Red Texan Wolf. 82

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: 1092 - Audubon - American Red Fox. 87

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: 1093 - Audubon - Swift Fox. 52

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

Lot: 1094 - Audubon - Raccoon. 61

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: 1095 - Baird - Northern Spotted Owl [Syrnium Occidentale]

This hand-colored lithograph is from The Birds of North America; the descriptions of species based chiefly on the collections in the museum of the Smithsonian Institution. The work was completed by Spencer Fullerton Baird, John Cassin, & George New bold Lawrence. It was published in Phladelphia by J. B. Lippincott & Co. and Bowen & Co. in 1860. Baird and Cassin were considered to of the foremost American ornithologists of the 19th century. The chief virtue of this spectacular contribution to the literature of American ornithology is that it completes the work started by the first octavo edition of John James Audubon's Birds of America (1840-1844) and continued by John Cassin's IIlustrations of the Birds of California, Texas [etc.] (([1853]-56). As Baird notes in the preface: "the first series [of Cassin's work], containing fifty species not given by Audubon, was completed in 1855, and has not been extended, having been superceded by the present work" (Preface, p.I, Atlas vol.). "The present work is part of the General Report on North American birds ... published in October, 1858, as one of the series of "Reports of Explorations and Surveys of a Railroad Route to the Pacific Ocean." In this volume, however, will be found many important additions and corrections, including detailed lists of plates, ... descriptions of newly-discovered species, &c, not in the original edition. The Atlas contains one hundred plates, representing one hundred and forty-eight new or unfigured species of North American birds. Of these plates about fifty appear for the first time, having been prepared expressly for this work. The remainder form the ornithological illustrations of the Reports of the Pacific Railroad Survey [1858], and of the United States and Mexican Boundary Survey [1859] under Major Emory ... All have, however, been carefully retouched and lettered for this edition, and quite a number redrawn entirely from better and more characteristic specimens. In fact, the plates of the Atlas have been prepared for the present edition with the utmost care and attention" (Advertisement, vol.I). Bennet p.7; Meisel III, p.484; Sabin 2809.

Lot: 1096 - Wilson - Louisana Tanager, Clarks Crow, Lewis's Woodpecker. 20

This exceptional originally hand-colored engraving is from Alexander Wilson’s American Ornithology or The Natural History of the Birds of the United States. This is the second edition published in 1829. This edition is often preferred to the first because of the superior paper quality. The same copper plates were used in publication so the subjects are identical to the first. Alexander Wilson is known as the “Father of American Ornithology.” Wilson’s work, American Ornithology, was the first focused on only American birds. Wilson drew most of the birds for the work himself and employed Alexander Lawson and John G. Warnicke for the engraving.

Lot: 1097 - Albin - Soland Goose. 86

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

Lot: 1098 - Albin - Cardinal or Red Grosbeak or Virginia Nightingale. 57

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

Lot: 1099 - Russ - 5 Parrot Prints including Cockatoos, Ground Parrot, Cockatiel

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: 1100 - Greene - 4 Parrakeet Prints

Included in this lot: Quaker or Grey-breasted Parrakeet Barnard's Parrakeet Bauer's Parrakeet Pileated Parrakeet 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: 1101 - Greene - 3 Parrot Prints

Included in this lot: Red-throated White-fronted Amazon Jamaica Parrot New Guinea Eclectus 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: 1102 - Lemaire - 3 Trogon (Couroucou) Engravings

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: 1103 - Lemaire - Parrots. 33

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: 1104 - Lemaire - Carolina Parrot, Parrot. 34

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: 1105 - Lemaire - Cockatoos. 32

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: 1106 - Lemaire - Hyacinth Macaw. 31

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: 1107 - Lauder's Natural History - Volume with 35 Parrot Engravings

This volume with 35 Parrot engravings is Thomas Lauder’s Miscellany of Natural History. It was published in Edinburgh in 1833 by Fraser & Co. The book is bound with brown cloth and has a gold gilt title and parrot design on the spine. The books subject includes many different kinds of parrots from around the world. The engravings were completed by Joseph B. Kidd.The front of the book includes a portrait of the famous John James Audubon and follows with a short biography.

Lot: 1108 - Brisson & Martinet - Blue-and-yellow Macaw

This beautiful engraving is from Mathurin Jacques Brisson's Ornithologie ou methode contenant la division des oiseaux en ordres, sections, genres etc. This is from the first edition of the work which was published in Paris in 1760 by Brisson. The illustrations were by Francois Nicolas Martinet. Mathurin Jacques Brisson (1723-1806) was a French zoologist and natural philosopher. His Ornithologie was one of the most extensive taxonomic works of the era. "One of the most important early systematic ornithologies." (Ellis 378) Francois-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He worked closely with Count Georges-Louis Leclerc du Buffon on Histoire Naturelle des Oiseaux. Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 1109 - Brisson & Martinet - White Cockatoo

This beautiful engraving is from Mathurin Jacques Brisson's Ornithologie ou methode contenant la division des oiseaux en ordres, sections, genres etc. This is from the first edition of the work which was published in Paris in 1760 by Brisson. The illustrations were by Francois Nicolas Martinet. Mathurin Jacques Brisson (1723-1806) was a French zoologist and natural philosopher. His Ornithologie was one of the most extensive taxonomic works of the era. "One of the most important early systematic ornithologies." (Ellis 378) Francois-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He worked closely with Count Georges-Louis Leclerc du Buffon on Histoire Naturelle des Oiseaux. Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 1110 - Martinet & Buffon - Pair of Hummingbird or Colibri 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: 1111 - 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: 1112 - Martinet & Buffon - 3 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: 1113 - Martinet & Buffon - Ivory-billed Woodpecker. 690

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: 1114 - Martinet & Buffon - Kingfisher. 715

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: 1115 - Gould, Asia - 6 Woodpecker Lithographs

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

Lot: 1116 - Gould, Asia - Pair of Bird Lithographs of Broadbill & Grosbeak

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

Lot: 1117 - Gould, Asia - Pair of Pitta Lithographs

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

Lot: 1118 - Mulsant - Hummingbird [Acestura Mulsanti]

This scarce, originally hand-colored hummingbird lithograph is from Martial Etienne Mulsant's Histoire Naturelle des Oiseaux Mouche ou Colibris. The work was issued in parts betwen 1875 and 1879. The lithography was completed by Antoine Germain Bevalet and E. Mesplis. Each lithograph features brilliant original hand-coloring heightened with gum arabic. It was done very much in the style of John Gould's superb work, and is considered just as beautiful.

Lot: 1119 - Barraband - 4 Bird Engravings (Barbet, Jay, Roller)

This incredible first edition stipple engraving is from Francois Levaillant & Jacques Barraband's Histoire naturelle des oiseaux de paradis et des rolliers, suivie de celle des toucans et des barbus. This particular plate is part of the rare large paper edition with superb hand-coloring. The work was published in Paris by Denne et Perle between 1801 and 1806. 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: 1120 - Lear & Gould - Great Auk [Alca impennis]

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

Lot: 1121 - Elliot - Gyrfalcon [Falco Islandicus]

This spectacular large folio lithograph is from Daniel Giraud Elliot's The New and Heretofore Unfigured Species of the Birds of North America. The work was published in New York for the author between 1866 and 1869. Each lithograph features original hand-coloring. The plates were predmoninantly executed by Bowen of Philadelphia after originals by Elliot and celebrated natural history artist, Joseph Wolf. It is believed only 200 copies of this work were ever printed. The work generally depicted life-size renderings of birds that were not previously illustrated by Alexander Wilson or John James Audubon. It had a particular focus on birds of the American West including California, Arizona, New Mexico, Texas and the Rocky Mountains. It also depicts some birds from the Alaskand and Arctic regions. Many of birds were drawn from birds brought back from government-led expeditions in the West as well as private sources including John Xantus de Vesey. Elliot’s lithographs are some of the most valuable American bird plates. In the preface, Elliot describes his intentions for the work: "Since the time of Wilson and Audubon, no work has been published upon American Ornithology, containing life-size representations of the various species that have been discovered since the labors of those great men were finished. The valuable productions of Cassin, as well as the revised edition of the ninth volume of the Pacific Rail Road Report, the joint labor of Messrs. Baird, Cassin and Lawrence had indeed appeared . but no attempt had been made to continue the works of the first great American naturalists in a similar manner . It was, therefore, with the desire to contribute . towards the elucidation of the comparatively little known species of the Birds of North America, their habits and economy, as well as to render their forms familiar so far as life-size representation of them might serve to do, that I undertook the present publication." 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.

Lot: 1122 - Elliot - Common or Shaw's Pheasant [Phasianus Shawii]

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: 1123 - Shelley & Keulemans - Fire-tiled Sun-Bird [Aethopyga Ignicauda]

This vibrant, originally hand-colored lithograph is from George Ernest Shelley's A Monograph of The Nectariniidae or Family of Sun-Birds. The work was published by the author in London between 1876 and 1880. This is a first edition lithograph with "excellent hand-colored plates" (Zimmer). Only 250 copies of the work were every published. The illustrations were by the celebrated J. G. Keulemans. Shelley noted his contribution and exceptional artistry, as well as incorporated his notes on the sunbirds of Prince's Island into the text. Shelley noted, "The illustrations which form such an important portion of my Monograph, have all been executed by Mr. Keulemans, whose name is sufficient guarantee for the accuracy of the details and for high artistic skill. The latter is rendered perhaps more striking from his being acquainted with this family of birds in their native haunts; and his notes upon the sun-birds inhabiting Prince's Island have been incorporated in my work".

Lot: 1124 - Shelley & Keulemans - Dabry's Scarlet Sun-Bird [Aethopyga Dabryi]

This vibrant, originally hand-colored lithograph is from George Ernest Shelley's A Monograph of The Nectariniidae or Family of Sun-Birds. The work was published by the author in London between 1876 and 1880. This is a first edition lithograph with "excellent hand-colored plates" (Zimmer). Only 250 copies of the work were every published. The illustrations were by the celebrated J. G. Keulemans. Shelley noted his contribution and exceptional artistry, as well as incorporated his notes on the sunbirds of Prince's Island into the text. Shelley noted, "The illustrations which form such an important portion of my Monograph, have all been executed by Mr. Keulemans, whose name is sufficient guarantee for the accuracy of the details and for high artistic skill. The latter is rendered perhaps more striking from his being acquainted with this family of birds in their native haunts; and his notes upon the sun-birds inhabiting Prince's Island have been incorporated in my work".

Lot: 1125 - Elliot & Keulemans - Gingi Hornbill [Lophoceros Birostris]

This beautiful hornbill lithograph is from Daniel Giraud Elliot's A Monograph of the Bucerotidae, or Family of the Hornbills. The work was published in New York by Taylor & Francis of London between 1877 and 1882. This first edition work is a "comprehensive treatment of the entire family of hornbills" (Zimmer) from one of the best known American ornithologists of the second half of the

Lot: 1126 - Sharpe & Gould - Elliot's Bird of Paradise [Epimachus Ellioti]

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

Lot: 1127 - Trew & Ehret - Snake Lily or Paintbrush Lily [Haemanthus Colchici]. 44

This elegant folio, botanical engraving is from Christoph Jakob Trew’s work Plantae Selectae. The work was published in Nuremberg in 1750. Georg Dionysius Ehret was the artist for the work and was considered one of the most influential artists in the world of botanical illustration. Ehret’s plates are both remarkable and scientifically accurate. The original hand-coloring was completed by J. J. Haid. Plantae Selectae is one of the greatest of all eighteenth-century botanical books, drawn by the greatest of eighteenth-century botanical artists, George Dionysius Ehret. Linnaeus, wrote to Trew, in Latin, that "The miracles of our century in the natural sciences are your work of Ehret's plants...nothing to equal them was seen in the past or will be in the future." Christoph Jakob Trew, a physician and botanist, had for a number of years been an admirer of Ehret's work. Ehret, a brilliant botanical artist, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look." (Hunt) Born in Heidelberg in 1710, he originally worked as a gardener and practised drawing in his spare time. His artistic abilities led him to the service of a Regensburg banker named Leskenkohl, and it was during this period that Trew met Ehret. Trew was to remain a friend and patron of Ehret's throughout his life, and by 1742, the germ of what was to become the present publication was already under discussion when Trew wrote to Christian Thran in Carlsruhe "Every year I receive some beautifully painted exotic plants [by Ehret] and have already more than one hundred of them...." Ehret moved to London in the late 1730s, where he painted the recently introduced exotics at the Chelsea Physic Garden and established himself as a teacher of flower-painting and botany. Discussions about the projected work continued by letter until 1748, when Johann Jacob Haid from Augsburg agreed to produce the engravings from Ehret's drawings.

Lot: 1128 - Trew & Ehret - Banana. 19

This elegant folio, botanical engraving is from Christoph Jakob Trew’s work Plantae Selectae. The work was published in Nuremberg in 1750. Georg Dionysius Ehret was the artist for the work and was considered one of the most influential artists in the world of botanical illustration. Ehret’s plates are both remarkable and scientifically accurate. The original hand-coloring was completed by J. J. Haid. Plantae Selectae is one of the greatest of all eighteenth-century botanical books, drawn by the greatest of eighteenth-century botanical artists, George Dionysius Ehret. Linnaeus, wrote to Trew, in Latin, that "The miracles of our century in the natural sciences are your work of Ehret's plants...nothing to equal them was seen in the past or will be in the future." Christoph Jakob Trew, a physician and botanist, had for a number of years been an admirer of Ehret's work. Ehret, a brilliant botanical artist, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look." (Hunt) Born in Heidelberg in 1710, he originally worked as a gardener and practised drawing in his spare time. His artistic abilities led him to the service of a Regensburg banker named Leskenkohl, and it was during this period that Trew met Ehret. Trew was to remain a friend and patron of Ehret's throughout his life, and by 1742, the germ of what was to become the present publication was already under discussion when Trew wrote to Christian Thran in Carlsruhe "Every year I receive some beautifully painted exotic plants [by Ehret] and have already more than one hundred of them...." Ehret moved to London in the late 1730s, where he painted the recently introduced exotics at the Chelsea Physic Garden and established himself as a teacher of flower-painting and botany. Discussions about the projected work continued by letter until 1748, when Johann Jacob Haid from Augsburg agreed to produce the engravings from Ehret's drawings.

Lot: 1129 - Weinmann - Lotus or Water Lily. 761

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: 1130 - Weinmann - Night blooming Cactus. 354

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: 1131 - Weinmann - Sunflower. 371

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: 1132 - Rabel - Pair of Iris Engravings

This exquisite botanical engraving is from Daniel Rabel's Theatrum Florae. It's considered the unacknowledged fourth edition of the work that was bound with Maria Sibylla Merian's work entitled Histoire Generale des Insectes de Surinam... for the Buc'hoz & Desnos 1771 printing. It was published in Paris by Chez L. C. Desnos in 1771. The work is the rarest of Desnos's extraordinary publications. "The plates in Theatrum Florae are indeed magnificent... While the images clearly owe much to the earlier florilegia of Vallet and de Bry, certain illustrations stand out due to their exceptional artistic quality and almost scientific realism..." ( Oak Spring Flora) Rabel's name was omitted from the work in earlier editions (1622, 1627, and 1633). He only began getting the credit and re-attribution of this work to him in the last 70 years. Blunt considered Rabel to be one of the two greatest French botanical artists of the 17th century, noting that his work, along with that of his successor Nicolas Robert, was 'consummate in its perfection.' (The Art of Botanical Illustration p.114)

Lot: 1133 - Rabel - 6 Tulip Engravings

This exquisite botanical engraving is from Daniel Rabel's Theatrum Florae. It's considered the unacknowledged fourth edition of the work that was bound with Maria Sibylla Merian's work entitled Histoire Generale des Insectes de Surinam... for the Buc'hoz & Desnos 1771 printing. It was published in Paris by Chez L. C. Desnos in 1771. The work is the rarest of Desnos's extraordinary publications. "The plates in Theatrum Florae are indeed magnificent... While the images clearly owe much to the earlier florilegia of Vallet and de Bry, certain illustrations stand out due to their exceptional artistic quality and almost scientific realism..." ( Oak Spring Flora) Rabel's name was omitted from the work in earlier editions (1622, 1627, and 1633). He only began getting the credit and re-attribution of this work to him in the last 70 years. Blunt considered Rabel to be one of the two greatest French botanical artists of the 17th century, noting that his work, along with that of his successor Nicolas Robert, was 'consummate in its perfection.' (The Art of Botanical Illustration p.114)

Lot: 1134 - Redoute, Choix, Rare Folio - Grape [Cornichons blancs]

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

Lot: 1135 - Redoute, Choix, Rare Folio - Poppy [Papaver]

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

Lot: 1136 - Redoute, Choix, Rare Folio - Mallow [Malva purpurea]

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

Lot: 1137 - Redoute, Choix, Rare Folio - Rose [Rosa Indica]

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

Lot: 1138 - Brookshaw, Folio - Pair of Pear 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: 1139 - Brookshaw, Folio - Melon. 67

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: 1140 - Thornton, Folio - Linnaeus in his Lapland Dress from an orgiinal Picture in the Possession of Dr. Thornton

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: 1141 - Thornton, Folio - Cupid inspiring Plants with Love [And thou divine Linnaeus…]

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: 1142 - Thornton, Folio - A Group of Auriculas

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: 1143 - Seba - Pair of Snake & Lizard Engraving

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: 1144 - Seba - 4 Coral or Sea Life 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: 1145 - Seba - Pair of Engravings of Butterflies or Moths, Caterpillars, Cacoons

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: 1146 - Catesby, Folio - Loggerhead Turtle. 2-40

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: 1147 - Catesby, Folio - Gold Winged Woodpecker with Chesnut Oak. 1-18

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: 1148 - Catesby, Folio - Cardinal or Red Bird with Hiccory Tree & Pignut Tree. 1-38

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

Lot: 1149 - Catesby, Folio - Little White Heron. 1-77

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: 1150 - Catesby, Folio - Flamingo. 1-73

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)