Antique Prints, Maps, & Books of Natural

Lot: 1201 - Prevost after Bellin - Pair of Maps of Ceylon or Sri Lanka & East Indies including Java, Sumatra, Borneo, Gulf of Siam

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

Lot: 1202 - Mortier - 3 Engravings from Revelations (Apocalypse)

This biblical engraving is from Pieter Mortier's Histoire des Ouden en Nieuwen Testaments, Verrykt met meer Dan Vierhonderd Printverbeeldingen in Koper Gesneeden. The work was published in Amsterdam by Mortier in 1700. The engravings are fine, dark impressions. The work was originally printed as a Dutch history of the Bible with additional prints and maps. The images included maps, biblical scenes, and portraits of Matthew, Mark, Luke, and John. Pieter Mortier (1669-1711) was an 18th century mapmaker, engraver, and bookseller. Mortier's family continued to publish and sell books in the Dutch Republic for three generations.

Lot: 1203 - Merian & Jonston - 6 Engravings of Fish, Sea Life, Swordfish, Eel, Sea Serpent, Shark

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

Lot: 1204 - Merian & Jonston - 5 Engravings included the Frontispiece and depictions of Mermaids & Mermen, Fish, Blowfish, Sawfish, Seal or Walrus, Whales

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

Lot: 1205 - Merian & Jonston - Sea Monster, Dolphin

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

Lot: 1206 - Merian & Jonston - Mermaid or Merman with Fish & Sea Life

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

Lot: 1207 - Piranesi - Pair of Engravings of Roman Antiquities

This outstanding folio etching is from Giovanni Battista Piranesi's Le Antichita Romane. The work was published in Rome by Stamperia Salomoni circa 1780. The work depicted archaeological sites, sepulchral monuments, reconstructions of engineering feats, ancient bridges, baths and other structures. Piranesi's etchings exhibit remarkable technical skill, historic accuracy, and artistic vision. 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. 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." "No other author before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127). Le Antichita Romane cemented Piranesi's reputation as "the foremost artistic proponent of Roman architecture" (Robison, Piranesi, 1986, p.11 Provenance: Marcel Bernard, architect in Montpellier

Lot: 1208 - Piranesi - Pair of Engravings of Roman Antiquities

This outstanding folio etching is from Giovanni Battista Piranesi's Le Antichita Romane. The work was published in Rome by Stamperia Salomoni circa 1780. The work depicted archaeological sites, sepulchral monuments, reconstructions of engineering feats, ancient bridges, baths and other structures. Piranesi's etchings exhibit remarkable technical skill, historic accuracy, and artistic vision. 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. 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." "No other author before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127). Le Antichita Romane cemented Piranesi's reputation as "the foremost artistic proponent of Roman architecture" (Robison, Piranesi, 1986, p.11 Provenance: Marcel Bernard, architect in Montpellier

Lot: 1209 - Piranesi, Folio - View of the Temple of the Sibyl at Tivoli [Veduta del Tempio della Sibilla in Tivoli]

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: 1210 - Piranesi, Folio - View of the remains of the Castro Pretorio in Hadrian’s Villa at Tivoli [Veduta degli avanzi del Castro Pretorio nella Villa Adriana a Tivoli]

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: 1211 - Gould, Australia - 7 Bird Lithographs

Included in this lot: Large-billed Gerygone [Gerygone Magnirostris] Lunulated Honey-eater [Melithreptus Lunulatus] Great-winged Flycatcher [Microeca Macroptera] Horsfield's Mirafra [Mirafra Horsfieldii] White-throated Gerygone [Gerygone Alborgularis] Buff-breasted Sericornis [Sericornis Laevigaster] Chesnut-breasted Cuckoo [Cacomantis Castaneiventris] 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: 1212 - Gould, Australia - Black-faced Cuckoo-Shrike (Varied Graucalus) [Graucalus Mentalis]

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: 1213 - Gould, Australia - Chestnut Rail [Eulabeornis Castaneoventris]

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: 1214 - Gould, Australia - Marbled Frogmouth [Podargus Marmoratus]

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: 1215 - Gould, Australia - Northern Cassowary [Casuarius Uniappendiculatis]

This hand-colored folio lithograph is from the esteemed John Gould’s Birds of Australia. The work was published in London by Richard and John E. Taylor for the author between 1840 and 1869. Over 300 new species of Australian birds were identified through the production of this work, and it remains one of the most comprehensive works on Australian ornithology. It is believed only 250 sets were printed of this work. John Gould's first work in connection with Australian birds was A Synopsis of the Birds of Australia and the Adjacent Islands. This work likely served as a teaser to drive up subscriptions for the work presented here, Birds of Australia. Both works were considered the height of Elizabeth Gould's artistry as she had begun working with Edward Lear who truly helped enhance her remarkable skill. The production of this work lead to Gould being considered the 'father of Australian ornithology.' Originally the Goulds relied on Elizabeth's brothers to send back specimens, but John Gould realized to properly complete the work he would need to observe the birds in person. The couple moved to Australia in May of 1838. John explored Tasmania, New South Wales, and Australia's interior. Elizabeth stayed on the coast and produced over 600 drawings. John wrote to Prince Charles Lucien Bonaparte, “The interval spent from my native shores were some of the happiest days of my life ... The results of my journey cannot, I think, but be attended with great advantage to science.” Sauer noted that “Great as is the excellence of Mr. Gould's former publications, there can be no doubt that the present work exceeds them all.” (Sauer) John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 1216 - Rothschild & Keulemans, Hawaii - Lighthouse on Laysan Island

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: 1217 - Rothschild & Keulemans, Hawaii - Laysan Rail or Crake [Porzanula Palmeri]

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

Lot: 1218 - Rothschild & Keulemans, Hawaii - Laysan Albatross [Diomedea Immutabilis]

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: 1219 - Rothschild & Keulemans, Hawaii - Laysan Finch [Telespiza Flavissima]

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: 1220 - Rothschild & Keulemans, Hawaii - ʻApapane & Laysan honeycreeper [Himatione Fraithii & Himatione Sanguinea]

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: 1221 - Rothschild & Keulemans, Hawaii - Bishop's ʻoʻo or the Molokai ʻoʻo or Honeyeater (Extinct) [Moho Bishopi]

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: 1222 - Byron, Hawaii - Track of H. M. S. Blonde to the Sandwich Islands (Map of the Americas)

This first edition engraving is from George Anson Byron's Voyage of H.M.S. Blonde to the Sandwich Islands, in the Years 1824-1825. The work was published in London by John Murray in 1826. The work was an account of the voyage to Hawaii to return the bodies of King Kamehameha ll and Queen Kamamalu, who passed away from measles while on a state visit to London in 1824. It detailed the King's visit as well as the history of British exploration to the Hawaiian islands. Hill notes "This voyage was termed by Peter Buck (Ti Rangi Hiroa) 'One of the most gracious acts that one country has ever extended to another.' Kamehameha ll of Hawaii and his queen, Kamamalu, were on a visit to London in 1824 when they both died of the measles, for which they had no immunity. This voyage, with the cousin of the poet Lord George Gordon Byron in command, was undertaken by the British government specifically to return their bodies to the Hawaiian Islands....The work contains a history of the late King's visit to London, a resume of the discovery of and visits to Hawaii by British explorers, as well as the main narrative, compiled by Maria Graham from the journals kept by the naturalist (Bloxam) and from other official papers. The Hawaii portion of the text contains an interesting account of events in Honolulu and travels to Hilo, Kealakekua, and Kailua, Kona."

Lot: 1223 - Byron, Hawaii - 3 Native People to Sandwich Islands

Included in this lot: Naheinaheina, Princess of the Sandwich Islands Native Girl of the Sandwich Islands Kiaukiauli, King of the Sandwich Islands Description of the work: This first edition engraving is from George Anson Byron's Voyage of H.M.S. Blonde to the Sandwich Islands, in the Years 1824-1825. The work was published in London by John Murray in 1826. The work was an account of the voyage to Hawaii to return the bodies of King Kamehameha ll and Queen Kamamalu, who passed away from measles while on a state visit to London in 1824. It detailed the King's visit as well as the history of British exploration to the Hawaiian islands. Hill notes "This voyage was termed by Peter Buck (Ti Rangi Hiroa) 'One of the most gracious acts that one country has ever extended to another.' Kamehameha ll of Hawaii and his queen, Kamamalu, were on a visit to London in 1824 when they both died of the measles, for which they had no immunity. This voyage, with the cousin of the poet Lord George Gordon Byron in command, was undertaken by the British government specifically to return their bodies to the Hawaiian Islands....The work contains a history of the late King's visit to London, a resume of the discovery of and visits to Hawaii by British explorers, as well as the main narrative, compiled by Maria Graham from the journals kept by the naturalist (Bloxam) and from other official papers. The Hawaii portion of the text contains an interesting account of events in Honolulu and travels to Hilo, Kealakekua, and Kailua, Kona."

Lot: 1224 - Fessenkov & Rozhovsky - Gaseous Dust Nebulae Photograph [Gas condensations south of NGC 6960 in the constellation Cygnus]

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: 1225 - Fessenkov & Rozhovsky - Gaseous Dust Nebulae Photograph [Gas nebula IC 443 near Gemini]

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: 1226 - Bevis, Rare - Constellation or Star Chart of Ursa Minor (Little Bear)

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: 1227 - Flamsteed - Constellation or Celestial Chart of Bootes, Dogs, Berenice's Hair

This captivating celestial engraving is from John Flamsteed's Atlas Celeste. The work was published in Paris by J. Fortin and F. G. Deschamps in 1776. Each engraving has been splendidly hand-colored with gold highlights to the stars. The work featured some of the most accurate and detailed star charts available for the time. Jean Fortin was responsible for reducing the plates from the large folio publication of Flamsteed's atlas. This is the second edition of the atlas with the engravings worked on by P. C. Le Monnier and François Pasumot. John Flamsteed (1646-1719) was the first Royal Astronomer. Flamsteed spent nearly half a century observing and recording the sky. He catalogued over 3000 stars in his life. Flamsteed also worked to correct Bayer's represnetations of the constellation figures. However, as he did not want to release unverified data, he kept his records under seal in Greenwich. His observations were pulled for publication in 1712 by Isaac Newton and Edmund Halley, as commissioned by the king. Flamsteed refused to publish for the king, but Newton pirated 400 publications, of which Flamsteed managed to gather 300 of these and burn them.

Lot: 1228 - Flamsteed - Constellation or Celestial Chart of Bull (Taurus), Orion

This captivating celestial engraving is from John Flamsteed's Atlas Celeste. The work was published in Paris by J. Fortin and F. G. Deschamps in 1776. Each engraving has been splendidly hand-colored with gold highlights to the stars. The work featured some of the most accurate and detailed star charts available for the time. Jean Fortin was responsible for reducing the plates from the large folio publication of Flamsteed's atlas. This is the second edition of the atlas with the engravings worked on by P. C. Le Monnier and François Pasumot. John Flamsteed (1646-1719) was the first Royal Astronomer. Flamsteed spent nearly half a century observing and recording the sky. He catalogued over 3000 stars in his life. Flamsteed also worked to correct Bayer's represnetations of the constellation figures. However, as he did not want to release unverified data, he kept his records under seal in Greenwich. His observations were pulled for publication in 1712 by Isaac Newton and Edmund Halley, as commissioned by the king. Flamsteed refused to publish for the king, but Newton pirated 400 publications, of which Flamsteed managed to gather 300 of these and burn them.

Lot: 1229 - Flamsteed - Constellation or Celestial Chart of Southern Hemisphere Sky

This captivating celestial engraving is from John Flamsteed's Atlas Celeste. The work was published in Paris by J. Fortin and F. G. Deschamps in 1776. Each engraving has been splendidly hand-colored with gold highlights to the stars. The work featured some of the most accurate and detailed star charts available for the time. Jean Fortin was responsible for reducing the plates from the large folio publication of Flamsteed's atlas. This is the second edition of the atlas with the engravings worked on by P. C. Le Monnier and François Pasumot. John Flamsteed (1646-1719) was the first Royal Astronomer. Flamsteed spent nearly half a century observing and recording the sky. He catalogued over 3000 stars in his life. Flamsteed also worked to correct Bayer's represnetations of the constellation figures. However, as he did not want to release unverified data, he kept his records under seal in Greenwich. His observations were pulled for publication in 1712 by Isaac Newton and Edmund Halley, as commissioned by the king. Flamsteed refused to publish for the king, but Newton pirated 400 publications, of which Flamsteed managed to gather 300 of these and burn them.

Lot: 1230 - Flamsteed - Constellation or Celestial Chart of Northern Hemisphere Sky

This captivating celestial engraving is from John Flamsteed's Atlas Celeste. The work was published in Paris by J. Fortin and F. G. Deschamps in 1776. Each engraving has been splendidly hand-colored with gold highlights to the stars. The work featured some of the most accurate and detailed star charts available for the time. Jean Fortin was responsible for reducing the plates from the large folio publication of Flamsteed's atlas. This is the second edition of the atlas with the engravings worked on by P. C. Le Monnier and François Pasumot. John Flamsteed (1646-1719) was the first Royal Astronomer. Flamsteed spent nearly half a century observing and recording the sky. He catalogued over 3000 stars in his life. Flamsteed also worked to correct Bayer's represnetations of the constellation figures. However, as he did not want to release unverified data, he kept his records under seal in Greenwich. His observations were pulled for publication in 1712 by Isaac Newton and Edmund Halley, as commissioned by the king. Flamsteed refused to publish for the king, but Newton pirated 400 publications, of which Flamsteed managed to gather 300 of these and burn them.

Lot: 1231 - Schiller - Christianized Constellation of Dravo (The Holy Innocent Children)

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: 1232 - Schiller - Christianized Constellation of Bootes (Saint Sylvester, Supreme Pontiff)

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: 1233 - De La Croix - Celestial Globe

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: 1234 - De La Croix - Double Hemisphere Celestial Chart

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: 1235 - Van Keulen, Rare - Coastal Chart of Brittany

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: 1236 - Van Keulen, Rare - Coastal Map of Europe (Calais to Cadiz)

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: 1237 - Munster, pub. 1598 - View of Meissen, Germany

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: 1238 - Munster, pub. 1598 - View of Freiburg im Breisgau, Germany

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: 1239 - Munster, pub. 1598 - View of Frankfurt an der Oder, Germany

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: 1240 - Munster, pub. 1598 - View of Simmern, Germany

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: 1241 - Munster, pub. 1598 - View of Augsburg, Germany

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: 1242 - Braun & Hogenberg, pub. 1575 - View of Damascus, Syria

This extraordinary engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. The work was published in Augsburg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. Many of the engravings in this collection feature very old hand-coloring often with gold gilt detail work. The text to verso is in Latin. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famous of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 1243 - Braun & Hogenberg, pub. 1575 - View of Innsbruck, Austria

This extraordinary engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. The work was published in Augsburg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. Many of the engravings in this collection feature very old hand-coloring often with gold gilt detail work. The text to verso is in Latin. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famous of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 1244 - Braun & Hogenberg, pub. 1575 - View of Ghent, Belgium

This extraordinary engraving is from Georg Braun & Frans Hogenberg's Civitates Orbis Terrarum or Atlas of the Cities of the World. The work was published in Augsburg in 1575. It is considered the greatest atlas of city views ever made. It included some of the earliest views available and is a crucial guide to understanding the world in the 16th century. Many of the engravings in this collection feature very old hand-coloring often with gold gilt detail work. The text to verso is in Latin. "The Civitates orbis terrarum or the 'Braun & Hogenberg' is the most famous of the early town atlases. The Civitates was, like Ortelius's Theatrum, one of the best-selling works in the last quarter of the 16th century. Although it had no comparable predecessor, it immediately answered a great public demand because social, political and economic life at that time was concentrated in cities. Apart from that the pictorial style of the plans and views appealed very much to the uneducated public." (Van der Krogt) This work was the most famous of all the town-books comprising over 500 views. It featured views of the majority of the major European cities. The cities illustrated included Amsterdam, Barcelona, ​​Bologna, Brixen, Brussels, Chios, Danzig, Hamburg, Helsingborg, Innsbruck, Istanbul (Constantinople), Cologne, Leiden, Liege, London, Luxembourg, Milan, Moscow, Nuremberg, Ostia, Paris, Pozzuoli, Prague-Eger, Rome, Rotterdam, Seville, Stockholm, Tivoli, Trento, Utrecht, Venice, Weimar, Wroclaw, and Zurich. It also included some illustrations of places in Asia, Africa, and Latin America including: Aden, Alexandria, Cuzco, Casablanca, Jerusalem, and Cairo. Georg Braun and Frans Hogenberg began the work for this atlas in 1572, intended as a companion work to Abraham Ortelius's Theatrum Orbis Terrarum. Braun was responsible for editing the work and Hogenberg engraved the majority of the views. There were also many talented contributors that provided original drawings including Joris Hoefnagel (Spanish and Italian towns), Jacob van Deventer (Netherlands), Stumpf, Sebastien Munster (German), and Heinrich von Rantzau (Danish). Georg Braun (1541-1622) was a German Catholic cleric. He spent most of his life working for the church St. Maria and Gradus. Abraham Ortelius assisted Braun with the editing of Civitates Orbis Terrarum. Frans Hogenberg (1535-1590) was one of the greatest engravers of his time. He engraved the majority of the plates for Civitates Orbis Terrarum as well as Ortelius's Theatrum Orbis Terrarum. Hogenberg also made sure to detail the foregrounds of the plates including fashion of the time.

Lot: 1245 - Ortelius, pub. 1575 - Map of Transylvania, Romania

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: 1246 - Ortelius, pub. 1575 - Maps of Mediterranean Islands: Sicily, Sardinia, Corsica, Corfu, Elba, Malta, Zerbi (Djerba)

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: 1247 - Ortelius, pub. 1575 - Map of Scotland

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

Lot: 1248 - Ortelius, pub. 1575 - Map of Ireland

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

Lot: 1249 - Chatelain - Map of South America

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

Lot: 1250 - Chatelain - Map of Africa

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

Lot: 1251 - Chatelain - Map of Europe

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

Lot: 1252 - Chatelain - Map of Asia with China, Japan, East Indies, Tartary

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

Lot: 1253 - Chatelain - Map of the Ancient World with insets of the Seven Wonders

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

Lot: 1254 - Chatelain - Map of the World with the Americas

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

Lot: 1255 - Van der Aa - Map of Siam & India with China & Ceylon (Sri Lanka)

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: 1256 - Van der Aa - Map of the Americas (Travels of Jose de Acosta)

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: 1257 - Van der Aa - Map of South America & Africa (Travels of Anthony Knivets)

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: 1258 - Van der Aa - Map of Florida, Central America, and West Indies (Antilles Islands)

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: 1259 - Van der Aa - Map of New England (From John Smith's Report)

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: 1260 - Van der Aa - Killing alligators (or Crocodiles) (after De Bry)

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: 1261 - De La Croix - Armillary Sphere

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: 1262 - De La Croix - World Map

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: 1263 - De La Croix - Map of California as an Island (after Sanson's first Map of California as an Island)

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: 1264 - De La Croix - Map of North America with California as an Island, Florida not named, Great Lakes poorly shaped

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: 1265 - De La Croix - Map of the World

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: 1266 - De Fer - Map of Africa

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

Lot: 1267 - De Fer - Map of the World

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

Lot: 1268 - De Fer - Map of the World [Mappe-Monde ou Carte Generale de la Terre]

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

Lot: 1269 - Catlin, Folio - Buffalo Dance

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: 1270 - Karl Bodmer - Pehriska Ruhpa. 17

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

Lot: 1271 - E Curtis, Folio, Japanese Tissue - Lucero - Santo Domingo

Description of the image: Photographing a native of Santo Domingo is comparable to hunting big game with a camera. This pueblo measures its contentment inversely to the extent of unavoidable contact with the hated white race. A guard is detailed to watch the Catholic priest when he visits the village, and the Government has pursued the wise policy of detailing Indian teachers to the local school. The Santo Domingans long resisted the gratuitous digging of wells to be equipped with windmills, continue to deny their sick children the services of the Government physician, and resist the activities of census enumera- There is no doubt that the death sentence would be passed on any individual found guilty of revealing native practices, and if the priestly authorities learned that Lucero sold his likeness to a white man he doubtless had an unpleasant half hour. Description of the work: This moving photogravure is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 1930 in Cambridge, Massachusetts. This was part of a proposed edition of 500 (though about 272 sets are believed to be completed). The photogravures depict Native Americans from the Tiwa and Keres cultures. Tiwa communities were located near Taos, Picuris, Sandia, Isleta, and Ysleta del Sur (near El Paso). The Keres were located along the Rio Grande at Cochiti, San Felipe, Santa Ana, Santo Domingo / Kewa, and Zia as well as at Acoma and Laguna. Each photogravure is on Japanese tissue on support sheets as issued with Curtis's credit, printer's credit, title, copyright date, and plate number printed on recto. The deckle is preserved on the edges, and they are on the original overmats. The Japanese tissue issue was produced in the smallest number at great expense. It is the most rare issue of his photogravures. The tissue provides a truly refined presentation of Curtis's images. The picture shown is with a presentation mat over the original issue overmats. Curtis's work was a remarkable record of native American life and one of the most ambitious anthropological studies done. W. H. Holmes, Chief of the Bureau of American Ethnology in 1910, stated that this "publication should last for a thousand years." The North American Indian was referred to as “the most gigantic undertaking since the making of the King James Edition of the Bible” and containing “the most exquisite book art of our time.” Edward Sheriff Curtis (1868-1952) was an American photographer and ultimately historian of the American West. He travelled extensively for three decades living with the Native American tribes. He immersed himself in their customs, languages and beliefs. He detailed and photographed the tribes creating a truly comprehensive look into their lives.

Lot: 1272 - E Curtis, Folio, Japanese Tissue - Shuati - Sia

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: 1273 - Chagall - Pair of Etchings from Les Ames Mortes

Included in this lot: Chichikov's Dreams - Les Reves de Tchitchikov The Contracts Office - Le Bureau des Contrats Description of the work: 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: 1274 - Chagall - 3 Etchings from Les Ames Mortes

Included in this lot: The Officials' Council - Le Conciliabule des Fonctionnaires The Sparrow Woman - La Femme Moineau The Trousers Are Being Cleaned - On Nettoie les Pantalons Description of the work: 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: 1275 - Maitres Affiches by Mucha - Gismonda

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: 1276 - Mucha, Folio - Illustration of Women. 20

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: 1277 - Mucha, Folio - Illustration of Women. 17

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: 1278 - Mucha, Folio - Illustration of Topless Woman with Flowers. 10

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: 1279 - Mucha, Folio - Illustration of Woman with Flowers. 1

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: 1280 - Raphael's Loggie di Rafaele nel Vaticano - 3 Volumes with 41 Engravings + 3 Frontispieces

This impressive 3 volume set of 41 copper-plate engravings is the Loggie di Rafaele nel Vaticano. The work was published in Rome between 1772 and 1777 by Volpato and Ottaviani. The work is bound in contemporary three-quarter calf, speckled paper board, red-gilt ornamentation, title label to front cover, gilt details to spine with raised bands. The 41 exceptional Vatican loggia engravings are mounted on guards. Plates from this work are after the elaborate paintings found in the Vatican by Raphael (Rafaello) Sanzio d’Urbino, one of the most inspiring of Italian High Renaissance artists. During the early 1500s, Urbino spent his days in the Vatican decorating the pilasters found on the main floor of the interior apartments. The Loggie was one of the earliest works to show the interior design of the Vatican. Each plate was engraved by Giovanni Ottoviani after Gaetano Savorelli (painter), Ludovico Teseo (draughtsman), and Pietro Camporesi (architect).

Lot: 1281 - Wilmsen's Handbuch - Volume with 62 Engravings (58 Originally Hand-colored)

This book is Friedrich Philipp Wilmsen’s Kupfer-Gammlung besonders zu FP Wilmsens Handbuch der Naturgeschichte. This is the second edition and was published in Leipzig in 1831 by CF Amelang. The work is bound in dark green cloth with gold gilt lettering on the spine. It includes 62 copperplate engravings, of which 58 are hand colored. The plates are by and after Muller & Weber It was designed as a supplement to previously published schoolbooks. Subject matters included range from mammals, birds, fish, sea life, botanicals, amongst others. The book was originally intended to supplement Friedrich Philipp Wilmsen’s Handbook of Natural History, but was stated by the authors to be able to work well with other schoolbooks of natural history.

Lot: 1282 - Bechstein's Gemeinnusige Naturgeschichte - 4 Volumes with 91 Engravings

This collection of works is a four volume set called, Gemeinnutzige Naturgeschichte Deutschlands nach allen drey reichen or Practical Natural History of Germany, Covering all Three Kingdoms. It was written by Johann Matthaus Bechstein and was published in Leipzig from 1801 to 1809. The first three volumes were published by Siegfried Lebrecht Crusius, and after Crusius’s death the last volume was published by his successor, Friedrich Christian Wilhelm Vogel. The volumes are bound in brown calf with green title band with gold gilt details. There are 91 engravings, 80 of which feature original hand-coloring. Volume 1 describes mammals, while the rest of the volumes describe various birds. Johann Matthaus Bechstein (1757-1822) was a German naturalist who focused on ornithology. He founded the school of forestry in Waltershausen, Germany, and had a keen focus for the conservation of nature. He adopted his nephew, Ludwig Bechstein, who would go on to become a collector of German folk-tales.

Lot: 1283 - Schumann - 4 Cactus Prints

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

Lot: 1284 - Schumann - 4 Cactus Prints

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

Lot: 1285 - Van Houtte - 4 Botanical Prints

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

Lot: 1286 - Van Houtte - 6 Orchid Prints

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

Lot: 1287 - Van Houtte - 4 Botanical Prints

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

Lot: 1288 - 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: 1289 - Van Houtte - 3 Passion Flower Prints

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

Lot: 1290 - Van Houtte - Pair of Botanical Prints: Rose & Rhododendron

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: 1291 - Pair of Original Botanical Watercolors (according to Linnaeus system)

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

Lot: 1292 - Pair of Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Solanum Fuscatum after Ledel for Jacquin Dais Laurfolia 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: 1293 - 4 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Crepis hispida after Ledel for Kitaibel Verbascum Nigrum after Ledel Solidago Caesia for Dilletanti Solidago minuta for Hermann 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: 1294 - Weinmann - 3 Sedum Engravings

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

Lot: 1295 - Weinmann - 4 Scolymocephalus Engravings

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

Lot: 1296 - Weinmann - Pair of Engravings of Tulip & Tulip Tree Blossom

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: 1297 - Weinmann - 4 Narcissus or Daffodil Engravings

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

Lot: 1298 - Cramer - Butterfly. 91

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: 1299 - Cramer - Butterfly & Moth. 103

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: 1300 - Cramer - Butterfly. 40

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: 1301 - Cramer - Butterfly. 38

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: 1302 - Cramer - Butterfly. 158

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: 1303 - Cramer - Butterfly & Moth. 150

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: 1304 - Audubon - 4 Quadruped Lithographs (Squirrel, Spermophile)

Included in this lot: Leopard Spermophile. 39 Townsend's Ground Squirrel. 20 Four-striped Ground Squirrel. 24 Harris' Marmot Squirrel and California Meadow Mouse. 154 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1305 - Audubon - 5 Squirrel Lithographs

Included in this lot: Soft haired Squirrel. 19 Cat Squirrel. 17 Richardson's Columbian Squirrel. 5 Carolina Grey Squirrel. 7 Downy Squirrel. 25 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1306 - Audubon - Pair of Hare Lithographs

Included in this lot: Black-tailed Hare. 63 Townsend's Rocky Mountain Hare. 3 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1307 - Audubon - Pair of Quadruped Lithographs (Sheep, Antelope)

Included in this lot: Rocky Mountain Sheep. 73 Prong-horned Antelope. 77 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1308 - Audubon - 3 Quadruped Lithographs (Fox, Wolf, Marten)

Included in this lot: American Cross Fox. 6 Pine Marten. 138 White American Wolf. 72 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1309 - Audubon - Brown or Norway Rat. 54

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: 1310 - Audubon - Large-tailed Skunk. 102

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

Lot: 1311 - Latham - Horned Screamer. 74

Included in this lot: Brasilian Motmot. 10 Black-headed Strike. 6 Black-throated Bunting. 44 Black-headed Grosbeak. 43 Carunculated Chatterers. 40 Parrot-billed Grosbeaks. 42 Chinese Eagle. 35 Thorn-tailed Warbler. 52 Capital Tanager. 112 Lesser White Throat. 113 Description of the work: This fine bird engraving is from John Latham’s inaugural work, the first edition of A General Synopsis of Birds. The work was published in London for B. White, Leigh, and Sotheby between 1781 and 1787. A General Synopsis of Birds was an exceedingly rare work with only 500 sets of the first edition ever published. It was the most comprehensive ornithological publication of the time including about 3000 species. More than 200 Australian & New Zealand birds were described, often for the first time in this work. John Latham (1740-1837) was an English ornithologist. He was a founding member of the Linnean Society and considered the “grandfather of Australian Ornithology,” Latham expanded the knowledge of Australian birds overseas. Denominating quite a few varieties of birds, Latham is credited for the naming of the Emu, the Australian Magpie, the Sulphur-Crested Cockatoo, and others. Latham was also the first to describe the Hyacinth Macaw. Provenance: 20th-century pictorial bookplate of M. H. Cockell and bookseller's ticket (G. A. Poynder of Reading); Bookplate and ownership inscription (dated 1915) of J. H. Gurney (British ornithologist John Henry Gurney Jr. (1848-1922))

Lot: 1312 - Latham - Tufted Umbre. 77

Included in this lot: Brasilian Motmot. 10 Black-headed Strike. 6 Black-throated Bunting. 44 Black-headed Grosbeak. 43 Carunculated Chatterers. 40 Parrot-billed Grosbeaks. 42 Chinese Eagle. 35 Thorn-tailed Warbler. 52 Capital Tanager. 112 Lesser White Throat. 113 Description of the work: This fine bird engraving is from John Latham’s inaugural work, the first edition of A General Synopsis of Birds. The work was published in London for B. White, Leigh, and Sotheby between 1781 and 1787. A General Synopsis of Birds was an exceedingly rare work with only 500 sets of the first edition ever published. It was the most comprehensive ornithological publication of the time including about 3000 species. More than 200 Australian & New Zealand birds were described, often for the first time in this work. John Latham (1740-1837) was an English ornithologist. He was a founding member of the Linnean Society and considered the “grandfather of Australian Ornithology,” Latham expanded the knowledge of Australian birds overseas. Denominating quite a few varieties of birds, Latham is credited for the naming of the Emu, the Australian Magpie, the Sulphur-Crested Cockatoo, and others. Latham was also the first to describe the Hyacinth Macaw. Provenance: 20th-century pictorial bookplate of M. H. Cockell and bookseller's ticket (G. A. Poynder of Reading); Bookplate and ownership inscription (dated 1915) of J. H. Gurney (British ornithologist John Henry Gurney Jr. (1848-1922))

Lot: 1313 - Latham - 8 Shore or Water Bird Engravings

Included in this lot: Cape Snipe. 81 White-winged Sandpiper. 82 Pied Oyster-catcher. 84 African Jacana. 87 Martinico Gallinule. 88 Horned Grebe. 91 American Avoset (Avocet). 92 Yellow-nosed Albatross. 94 Description of the work: This fine bird engraving is from John Latham’s inaugural work, the first edition of A General Synopsis of Birds. The work was published in London for B. White, Leigh, and Sotheby between 1781 and 1787. A General Synopsis of Birds was an exceedingly rare work with only 500 sets of the first edition ever published. It was the most comprehensive ornithological publication of the time including about 3000 species. More than 200 Australian & New Zealand birds were described, often for the first time in this work. John Latham (1740-1837) was an English ornithologist. He was a founding member of the Linnean Society and considered the “grandfather of Australian Ornithology,” Latham expanded the knowledge of Australian birds overseas. Denominating quite a few varieties of birds, Latham is credited for the naming of the Emu, the Australian Magpie, the Sulphur-Crested Cockatoo, and others. Latham was also the first to describe the Hyacinth Macaw. Provenance: 20th-century pictorial bookplate of M. H. Cockell and bookseller's ticket (G. A. Poynder of Reading); Bookplate and ownership inscription (dated 1915) of J. H. Gurney (British ornithologist John Henry Gurney Jr. (1848-1922))

Lot: 1314 - Latham - 10 Bird Engravings

Included in this lot: Brasilian Motmot. 10 Black-headed Strike. 6 Black-throated Bunting. 44 Black-headed Grosbeak. 43 Carunculated Chatterers. 40 Parrot-billed Grosbeaks. 42 Chinese Eagle. 35 Thorn-tailed Warbler. 52 Capital Tanager. 112 Lesser White Throat. 113 Description of the work: This fine bird engraving is from John Latham’s inaugural work, the first edition of A General Synopsis of Birds. The work was published in London for B. White, Leigh, and Sotheby between 1781 and 1787. A General Synopsis of Birds was an exceedingly rare work with only 500 sets of the first edition ever published. It was the most comprehensive ornithological publication of the time including about 3000 species. More than 200 Australian & New Zealand birds were described, often for the first time in this work. John Latham (1740-1837) was an English ornithologist. He was a founding member of the Linnean Society and considered the “grandfather of Australian Ornithology,” Latham expanded the knowledge of Australian birds overseas. Denominating quite a few varieties of birds, Latham is credited for the naming of the Emu, the Australian Magpie, the Sulphur-Crested Cockatoo, and others. Latham was also the first to describe the Hyacinth Macaw. Provenance: 20th-century pictorial bookplate of M. H. Cockell and bookseller's ticket (G. A. Poynder of Reading); Bookplate and ownership inscription (dated 1915) of J. H. Gurney (British ornithologist John Henry Gurney Jr. (1848-1922))

Lot: 1315 - Lemaire - Pair of Woodpecker Prints

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: 1316 - Lemaire - Pair of Bird of Paradise 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: 1317 - Lemaire - Pair of Hummingbird Prints

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: 1318 - Lemaire - 3 Hummingbird Prints

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: 1319 - Lemaire - Hummingbirds. 9

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: 1320 - Lemaire - Hummingbirds. 18

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: 1321 - Greene - 4 Cockatoo Prints

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

Lot: 1322 - Greene - 4 Parrakeet Prints

Included in this lot: Alexandrine Parrakeet Ring-necked or Bengal Parrakeet Blossom-headed Parrakeet Barraband's 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: 1323 - Dresser - 4 Falcon Prints

Included in this lot: Iceland Falcon Iceland Falcon Jerfalcon Peregrine Description of the work: This originally hand-colored bird lithograph is from Henry Dresser's History of the Birds of Europe. This is from the first edition published in London by the author between 1871 and 1896. Dresser's monumental work was the first complete avifuana of Europe since the work of John Gould. Each plate featured detailed lithography and finely applied hand-coloring, making it one of the finest works of the ornithological world. There were only an estimated 240 copies of this work printed and is one of the last publications to contain original hand coloring. The plates from the work were completed J.G. Keuelmans, J. Wolf, E. Neale, and A. Thorburn. Keuelmans is known far and wide for his talents as a natural history artist and composed the majority of the plates for the work. The images were drawn from Dresser's own collection of 12,000 specimens. History of the Birds of Europe is monumental in its field for its inclusive nature of all European birds. It encompassed the entire Western Palaearctic Region which Dresser noted comprised "the whole of continental Europe to the Ural range, Scandinavia, Spitzbergen, the British Isles, Iceland, the Faeroes, the Azores, Madeira, and the Canary Isles, a comparatively narrow strip of North Africa, reaching to the border of the desert, Asia Minor (excluding the Jordan valley, which is essentially Ethiopia), and the Caucasus." Henry Eeles Dresser (1838-1915) was a leading figure in ornithological circles. He was elected a Member of the British Ornithologists’ Union in 1865 and served as its secretary from 1882 to 1888. He was a member and fellow of the Linnean and Zoological societies of London and an honorary fellow of the American Ornithologists’ Union. Provenance: The Earl of Cromer

Lot: 1324 - Dresser - Pair of Owl Prints

Included in this lot: Lapp-Owl Ural Owl Description of the work: This originally hand-colored bird lithograph is from Henry Dresser's History of the Birds of Europe. This is from the first edition published in London by the author between 1871 and 1896. Dresser's monumental work was the first complete avifuana of Europe since the work of John Gould. Each plate featured detailed lithography and finely applied hand-coloring, making it one of the finest works of the ornithological world. There were only an estimated 240 copies of this work printed and is one of the last publications to contain original hand coloring. The plates from the work were completed J.G. Keuelmans, J. Wolf, E. Neale, and A. Thorburn. Keuelmans is known far and wide for his talents as a natural history artist and composed the majority of the plates for the work. The images were drawn from Dresser's own collection of 12,000 specimens. History of the Birds of Europe is monumental in its field for its inclusive nature of all European birds. It encompassed the entire Western Palaearctic Region which Dresser noted comprised "the whole of continental Europe to the Ural range, Scandinavia, Spitzbergen, the British Isles, Iceland, the Faeroes, the Azores, Madeira, and the Canary Isles, a comparatively narrow strip of North Africa, reaching to the border of the desert, Asia Minor (excluding the Jordan valley, which is essentially Ethiopia), and the Caucasus." Henry Eeles Dresser (1838-1915) was a leading figure in ornithological circles. He was elected a Member of the British Ornithologists’ Union in 1865 and served as its secretary from 1882 to 1888. He was a member and fellow of the Linnean and Zoological societies of London and an honorary fellow of the American Ornithologists’ Union. Provenance: The Earl of Cromer

Lot: 1325 - Dresser - 4 Shore Bird Prints (Heron, Egret, Bittern)

Included in this lot: Buffbacked Heron & Squacco Heron Little Egret Great White Egret Little Bittern Description of the work: This originally hand-colored bird lithograph is from Henry Dresser's History of the Birds of Europe. This is from the first edition published in London by the author between 1871 and 1896. Dresser's monumental work was the first complete avifuana of Europe since the work of John Gould. Each plate featured detailed lithography and finely applied hand-coloring, making it one of the finest works of the ornithological world. There were only an estimated 240 copies of this work printed and is one of the last publications to contain original hand coloring. The plates from the work were completed J.G. Keuelmans, J. Wolf, E. Neale, and A. Thorburn. Keuelmans is known far and wide for his talents as a natural history artist and composed the majority of the plates for the work. The images were drawn from Dresser's own collection of 12,000 specimens. History of the Birds of Europe is monumental in its field for its inclusive nature of all European birds. It encompassed the entire Western Palaearctic Region which Dresser noted comprised "the whole of continental Europe to the Ural range, Scandinavia, Spitzbergen, the British Isles, Iceland, the Faeroes, the Azores, Madeira, and the Canary Isles, a comparatively narrow strip of North Africa, reaching to the border of the desert, Asia Minor (excluding the Jordan valley, which is essentially Ethiopia), and the Caucasus." Henry Eeles Dresser (1838-1915) was a leading figure in ornithological circles. He was elected a Member of the British Ornithologists’ Union in 1865 and served as its secretary from 1882 to 1888. He was a member and fellow of the Linnean and Zoological societies of London and an honorary fellow of the American Ornithologists’ Union. Provenance: The Earl of Cromer

Lot: 1326 - Martinet & Buffon - 4 Duck 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: 1327 - Martinet & Buffon - 4 Bird of Prey Engravings (Goshawk)

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: 1328 - Martinet & Buffon - Pair of Eagle 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: 1329 - Gould, Asia - 6 Bird Lithographs

Included in this lot: White-tailed Nuthatch [Sitta Himalayensis] White-cheeked Nuthatch [Sitta Leucopsis] Indian Wryneck [Yunx Indica] Robert's Pygmy Babbler [Turdinulus Roberti] Siberian Ruby Throat [Calliope Camtchatkensis] Yellow-throated Bunting [Euspiza Elegans] 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: 1330 - Gould, Asia - Pair of Bird Lithographs

Included in this lot: Philippine Island Thickhead [Hyloterpe Philippinensis] Burton's Grosbeak [Fringilla Burtoni] 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: 1331 - Gould, Asia - Pair of Bird Lithographs

Included in this lot: Curled-crested Cuckoo [Lepidogrammus Cumingi] Crimson-breasted Partridge [Haematortyx Sanguiniceps] 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. The plate of Crimson-breasted Partridge is speicifcally a pattern plate without text. 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: 1332 - Redoute, Choix, Rare Folio - Apple [Calville blanc]

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: 1333 - Redoute, Choix, Rare Folio - Marigold [Tagets]

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: 1334 - Redoute Choix, Rare Folio - Tiger Flower [Tigridia Pavonia]

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: 1335 - Redoute Choix, Rare Folio - Cabbage Rose [Rosa Centifolia]

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: 1336 - Thornton, Folio - The Aloe

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: 1337 - Thornton, Folio - Roses with Birds, Nest & Eggs

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: 1338 - Seba - 4 Shell 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: 1339 - Seba - Pair of Engravings with Snakes, Lizards, Birds, Plants, Insects

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: 1340 - Seba - Pair of Snake 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: 1341 - Seba - Pair of Engravings of Butterflies or Moths

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: 1342 - Catesby, Folio - Green Gar Fish with Water Primrose. 2-30

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: 1343 - Catesby, Folio - Red Mottled Rock Crab & Rough Shelled Crab. 2-36

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: 1344 - Catesby, Folio - Java Hare with Fig Tree. Sup-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: 1345 - Catesby, Folio - Yellow bellied Woodpecker & Smallest spotted Woodpecker with White Oak. 1-21

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: 1346 - Catesby, Folio - Small Bittern. 1-80

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: 1347 - Catesby, Folio - Blue Heron. 1-76

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: 1348 - Gould - Cayenne Aracari [Pteroglossus Aracari]

This exquisite lithograph is from the first edition of John Gould's A Monograph of the Ramphastidae, or Family of Toucans. The work was published in London between 1833 and 1835. Many consider this work to contain the most stunning images Gould ever produced. The toucans are represented with true-to-life details. Rich, luminous colors and splendid composition combine to make the Toucans come to life on the page. Gould was the foremost bird artist and publisher in Great Britain, publishing over 15 folio sets. He employed the best artists of his day to complete his works. A Monograph of the Ramphastidae features lithographs after Gould himself, his wife Elizabeth, Edward Lear, H. C. Richter, and W. Hart. The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias" (Toledo, 1526, chapter 42), in 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux" (Paris, 1555, p.184). Andre Thevet first used the name 'Toucan' with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus' corrupted form of the latter ("Ramphastos") which is how the family was still recognized at the time of the publication of the present image.

Lot: 1349 - Gould - Poortman's Emerald Hummingbird on Water Lily [Chlorostilbon Poortmani]

This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Monograph of the Trochilidae, or Family of Hummingbirds. The work was published in London between 1849 an 1887. Family of Hummingbirds undoubtedly featured some of Gould’s most desired plates. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.

Lot: 1350 - Elliot - Marquis de Raggi's Bird of Paradise [Paradisea Raggiana]

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.