76 Antique Prints & Books on America,

Lot: 1401 - Edmondson - 4 Engravings of Family Crests or Shields

Included in this lot: Family Crest or Shield of George Spencer, Duke of Marlborough Family Crest or Shield of Thomas Osborne, Duke of Leeds Family Crest or Shield of Charles Powlett, Duke of Bolton Family Crest or Shield of Henry Somerset, Duke of Beaufort Description of the work: This folio, heraldry engraving is from Joseph Edmondson's work after Sir William Segar in Baronagium Genealogicum; or the Pedigrees of the English Peers, deduced from the earliest times. The work was published in London in 1764. Edmondson was originally employed to paint coats of arms on carriages in London which led him to study Heraldry and genealogy. He eventually began publishing his work and completed Baronagium Genealogicum. The crests were originally compiled by Segar (1554-1633) and were continued to the present by Edmondson. The work attracted the attention of nobility who hired Edmondson to complete their family pedigrees.

Lot: 1402 - Hamilton - 6 Engravings of a Painting from a Grecian Vase

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

Lot: 1403 - Piranesi - 4 Engravings of Roman Architecutre & 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: 1404 - Piranesi, Folio - View of the grand Fountain of Trevi, formerly called the Aqua Virgo [Veduta della vasta Fontana di Trevi anticamente detta l'Acqua Vergine]

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: 1405 - Piranesi, Folio - Large Map of Rome, Italy

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: 1406 - Pair of Original Watercolors of Chinese Boat or Junk

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

Lot: 1407 - Gould, Australia - Tooth-billed Pigeon [Gnathodon Strigirostris]

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: 1408 - Gould, Australia - Tasmanian Native-hen [Tribonyx Mortierii]

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: 1409 - Gould, Australia - Little Grey Bittern [Ardetta Stagnatilis]

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: 1410 - Gould, Australia - Masked Booby [Sula Personata]

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: 1411 - Rodrigues - 8 Folio Palm Chromolithographs

This exquisite, large folio palm chromolithograph is from Joao Barbosa Rodrigues’s Sertum Palmarum Brasiliensium ou relation des palmiers nouveaux du Bresil decouverts, decrits et dessines d’apres nature. The prolific work on palms was published in Brussels in 1903. It is comprised of plates featuring full length palm trees as well as plates of detailed drawings of specific plant components. Rodrigues depicted more than 100 previously unknown species of palms in this, the apex of 30 years of field work, making this work historically significant. J. Barbosa Rodrigues, Brazilian botanist and traveller, collected widely in Brazil between 1868 and 1897. He was director of the Manaos botanical museum from 1883-1889, and finally director of the botanical garden of Rio de Janeiro from 1889 until his death in 1909. His drawings have a cool, modern feel that exhibit his love and fascination with the structure and form of these magnificent trees.

Lot: 1412 - Rothschild & Keulemans, Hawaii - Greater 'Amakihi or Honeycreeper (Extinct) [Viridonia Sagittirostris]

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: 1413 - Rothschild & Keulemans, Hawaii - 'Akiapola'Au or Honeycreeper (Endangered) [Heterorhynchus Wilsoni]

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: 1414 - Rothschild & Keulemans, Hawaii - Lana'i 'alauahio or Honeycreeper (Endangered) [Oreomyza Montana]

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: 1415 - Rothschild & Keulemans, Hawaii - Kaua'i 'Elepaio or Monarch Flycatcher [Chasiempis Sclateri]

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: 1416 - Bien, Hawaii - Pink Wrasse [Hemicoris Ballieui]

This colorful fish chromolithograph is from Julius Bien, David Starr Jordan & Barton Warren Evermann's The Aquatic Resources of the Hawaiian Islands (also issued as Bulletin of the United States Fish Commission. Vol. XXIII. The work was published in Washington, D.C. by the Government Printing Office in 1905. The work was based on specimens collected by the United States Fish Commission. It was produced by two leading marine scientists and illustrated fish of the Hawaiian Islands. The commission "launched and carried out the first sustained study of marine biology in the United States. It was instrumental in the artificial propagation of fish, thus increasing the country's fish resources, and concentrating attention on the preservation of natural resources." (Archives Center of the Smithsonian Institute's National Museum of American History)

Lot: 1417 - Bien, Hawaii - Spiny Lobster [Panulirus Japonicus]

This colorful fish chromolithograph is from Julius Bien, David Starr Jordan & Barton Warren Evermann's The Aquatic Resources of the Hawaiian Islands (also issued as Bulletin of the United States Fish Commission. Vol. XXIII. The work was published in Washington, D.C. by the Government Printing Office in 1905. The work was based on specimens collected by the United States Fish Commission. It was produced by two leading marine scientists and illustrated fish of the Hawaiian Islands. The commission "launched and carried out the first sustained study of marine biology in the United States. It was instrumental in the artificial propagation of fish, thus increasing the country's fish resources, and concentrating attention on the preservation of natural resources." (Archives Center of the Smithsonian Institute's National Museum of American History)

Lot: 1418 - Bien, Hawaii - Splendid Pebble or Red Spooner Crab [Etisus Splendidus]

This colorful fish chromolithograph is from Julius Bien, David Starr Jordan & Barton Warren Evermann's The Aquatic Resources of the Hawaiian Islands (also issued as Bulletin of the United States Fish Commission. Vol. XXIII. The work was published in Washington, D.C. by the Government Printing Office in 1905. The work was based on specimens collected by the United States Fish Commission. It was produced by two leading marine scientists and illustrated fish of the Hawaiian Islands. The commission "launched and carried out the first sustained study of marine biology in the United States. It was instrumental in the artificial propagation of fish, thus increasing the country's fish resources, and concentrating attention on the preservation of natural resources." (Archives Center of the Smithsonian Institute's National Museum of American History)

Lot: 1419 - Bien, Hawaii - Rainbow Swimming Crab [Charybdis Erythrodactyla]

This colorful fish chromolithograph is from Julius Bien, David Starr Jordan & Barton Warren Evermann's The Aquatic Resources of the Hawaiian Islands (also issued as Bulletin of the United States Fish Commission. Vol. XXIII. The work was published in Washington, D.C. by the Government Printing Office in 1905. The work was based on specimens collected by the United States Fish Commission. It was produced by two leading marine scientists and illustrated fish of the Hawaiian Islands. The commission "launched and carried out the first sustained study of marine biology in the United States. It was instrumental in the artificial propagation of fish, thus increasing the country's fish resources, and concentrating attention on the preservation of natural resources." (Archives Center of the Smithsonian Institute's National Museum of American History)

Lot: 1420 - Hawaiian Fishes - Souvenir Book with 12 Color Chromolithographs published for the Honolulu Aquarium

This souvenir book entitled Hawaiian Fishes was printed for the Honolulu Aquarium circa 1905. It was published by James Steiner and the Island Curio Company. The books has a red cover and features 12 color chromolithographs in leporello format. The images are of beautiful tropical fish that were on display in the Honolulu Aquarium. It was published as a keepsake for the newly built Honolulu Aquarium (now known as the Waikiki Aquarium). “The illustrations are reproduced from selected images appearing in The shore fishes of the Hawaiian Islands with a general account of the fish fauna, by David Starr Jordan and B.W. Evermann (pt. 1 of The aquatic resources of the Hawaiian Islands, published between 1905 and 1906; based on specimens collected by the United States Fish Commission during the 1902 expedition of the steamer Albatross).” (Smithsonian)

Lot: 1421 - Fessenkov & Rozhovsky - 4 Gasous Dust Nebulae Photographs

Included in this lot: Gasous Dust Nebulae Photograph [Nebula IC 1396 in the constellation Cepheus] Gasous Dust Nebulae Photograph [Gas nebulae IC 405 and IC 410 in the constellation Augur] Gasous Dust Nebulae Photograph [Nebula S 88 in the constellation Cygnus] Gasous Dust Nebulae Photograph [A group of nebulae in the constellation Cygnus] Description of the work: This scarce original photograph is from an album entitled Atlas gazovo-pylevykh tumannostei [Atlas of Gaseous Dust Nebulae]. The collection was created by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. It was published in 1953 in Almaty, Astrophysical Institute, Academic of Sciences of the Kazakh, SSR (Kazakhstan, USSR). This is a truly impressive mounted photograph from 1953 with accompanying text page. The text and photos were compiled by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. The pair pioneered the studying of gaseous nebulae. Fessenkov & Rozhkovsky were leading Soviet astrophysicists. They began their study of gas-dust galactic nebulae in 1950 and created these photographs. They began the study in order to understand "evolution of structure of nebulae, turbulent phenomena in interstellar clouds and in the vicinity of hot stars." The high-quality photographs illustrated the fine structure of objects formed by the radiation of ionised gas and made it possible to reveal dust scattering the light of stars. Their work was important and the field and inspired further interest in nebulae study. Rozhkovsky discovered 30 new diffuse nebulae. Provenance: Hale Library of the Carnegie Institute (deaccessioned)

Lot: 1422 - Schiller - 4 Engravings of Constellations drawn from Christian Symbols

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

Lot: 1423 - Flamsteed - Pair of Constellation or Celestial Charts with Capricorn, Aquarius, Gemini

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: 1424 - Flamsteed - Pair of Constellation or Celestial Charts with Hydra, Crow, Cup, Sextans

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: 1425 - Kircher, pub. 1682 - Pair of Dragon Engravings

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 1426 - Kircher, pub. 1682 - Pair of Dragon Engravings

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 1427 - Kircher, pub. 1682 - Mount Vesuvius Erupting

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 1428 - Kircher, pub. 1682 - Surface of the Sun

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 1429 - Kircher, pub. 1682 - Molten Interior of the Earth Showing Water Bodies as Connected

This scientific engraving is Athanasius Kircher's d'Onder-Aardse Weereld in Haar Goddelijk Maaksel en wonderbare uitwerkselen aller Dingen... It was published in 1682 in Amsterdam by J. Janssonius van Waasberge. This was the first Dutch translation of the original Latin edition entitled Mundus subterraneus. This work was based off Kircher's visit to Sicily in 1637-8 when Etna and Stromboli both erupted. This observation led him to conclude that the earth's center as a massive internal fire and that volcanoes acted as safety valves. His work speculated on geology, hidden lakes, rivers of fire, strange inhabitants, the sun, the moon, eclipses, currents, meteorology, medicines, poisons, and even fireworks. The work “must always command a high place in the literature as the first effort to describe the earth from a physical standpoint.” (Zittel, p. 25) Athanasius Kircher (1601-1680) was a Jesuit priest and scholar. He gathered and helped disseminate knowledge from around the world gathered by Jesuit missionaries. It is believed he was the first to depict the Pacific Ring of Fire on a map. He was one of the final Renaissance men. He lowered himself into Vesuvius after an eruption, experimented with bioluminescence as a light source, and make the first known Aeolian harp. He wrote 44 books, over 2000 manuscripts, and assembled one of the first natural history collections. Kircher's work was itself fascinating for its thematic maps. His work was on the underground passages and subterranean networks of the globe. He created a map that was the first to show ocean currents.

Lot: 1430 - Lot of 6 Engravings of the Netherlands (Holland) from Ortelius, Visscher, & Schenk

One Map from Ortelius: Map of Flanders, Netherlands Description of the work: 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

Lot: 1431 - Ortelius, pub. 1575 - Map of Tartary (Northeast Asia, Japan, America, Northwest Passage)

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: 1432 - Braun & Hogenberg, pug. 1575 - View of Rome, Italy

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: 1433 - Braun & Hogenberg, pug. 1575 - Important and Early View of Constantinople (Istanbul)

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: 1434 - Braun & Hogenberg, pug. 1575 - View of Nuremberg, Germany

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: 1435 - Bertius's Ptolemy, pub. 1618 - Map of Sardinia & Sicily (with Sea Monsters)

This handsome map is from Petrus Bertius's Theatri Geographiae Veteris Tomus Prior in quo Cl. Ptol. Alexandrini Geographiae Libri VIII.. This is from the first edition of the work published by Jodocus Hondius in Leiden and Amsterdam between 1618 and 1619. This work is considered an atlas in the style of Ptolemy (Ptolemaeus)’s Geographia after the maps of Gerard Mercator & Abraham Ortelius.. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Henricus Hondius (1597-1651) & Jodocus Hondius (1593-1629) were Dutch engravers and mapmakers. They learned the trade from their father, Jodocus Hondius, an engraver and geographer. He was involved with the republishing of Mercator's atlas as well. The brothers worked closely together and took over their father's engraving business. He would later start his own shop in 1621 where he would eventually partner with Jan Janssonius and continued publishing Mercator's work where it would eventually be referred to as the Mercator-Hondius-Janssonius atlas. Petrus Bertius (1565-1629) was a Flemish historian, theologian, geographer, and cartographer. He fled to Amsterdam due to religious persecution becoming librarian and mathematic professor at Leyden University. He authored numerous works with his publication of Ptolemy’s Geographia his most noted. He was appointed the Official Cosmographer to Louis XIII in 1618 and relocated to Paris. His brother-in-laws were noted publishers and cartographers, Jodocus Hondius and Pieter van den Keere.

Lot: 1436 - Bertius's Ptolemy, pub. 1618 - Map of Italy

This handsome map is from Petrus Bertius's Theatri Geographiae Veteris Tomus Prior in quo Cl. Ptol. Alexandrini Geographiae Libri VIII.. This is from the first edition of the work published by Jodocus Hondius in Leiden and Amsterdam between 1618 and 1619. This work is considered an atlas in the style of Ptolemy (Ptolemaeus)’s Geographia after the maps of Gerard Mercator & Abraham Ortelius.. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Henricus Hondius (1597-1651) & Jodocus Hondius (1593-1629) were Dutch engravers and mapmakers. They learned the trade from their father, Jodocus Hondius, an engraver and geographer. He was involved with the republishing of Mercator's atlas as well. The brothers worked closely together and took over their father's engraving business. He would later start his own shop in 1621 where he would eventually partner with Jan Janssonius and continued publishing Mercator's work where it would eventually be referred to as the Mercator-Hondius-Janssonius atlas. Petrus Bertius (1565-1629) was a Flemish historian, theologian, geographer, and cartographer. He fled to Amsterdam due to religious persecution becoming librarian and mathematic professor at Leyden University. He authored numerous works with his publication of Ptolemy’s Geographia his most noted. He was appointed the Official Cosmographer to Louis XIII in 1618 and relocated to Paris. His brother-in-laws were noted publishers and cartographers, Jodocus Hondius and Pieter van den Keere.

Lot: 1437 - Bertius's Ptolemy, pub. 1618 - Map of India (with Elephants & Camels)

This handsome map is from Petrus Bertius's Theatri Geographiae Veteris Tomus Prior in quo Cl. Ptol. Alexandrini Geographiae Libri VIII.. This is from the first edition of the work published by Jodocus Hondius in Leiden and Amsterdam between 1618 and 1619. This work is considered an atlas in the style of Ptolemy (Ptolemaeus)’s Geographia after the maps of Gerard Mercator & Abraham Ortelius.. The work was considered one of the most influential cartographic accounts of the ancient world and served as inspiration for all Renaissance mapmakers. He compiled what was known of the world's geography in the Roman Empire during his time (circa 90-168 AD). Ptolemy was a mathematician, astronomer, geographer, astrologer, and poet. The earliest known manuscripts of Geographia date to 1300 and was first printed in 1477. Henricus Hondius (1597-1651) & Jodocus Hondius (1593-1629) were Dutch engravers and mapmakers. They learned the trade from their father, Jodocus Hondius, an engraver and geographer. He was involved with the republishing of Mercator's atlas as well. The brothers worked closely together and took over their father's engraving business. He would later start his own shop in 1621 where he would eventually partner with Jan Janssonius and continued publishing Mercator's work where it would eventually be referred to as the Mercator-Hondius-Janssonius atlas. Petrus Bertius (1565-1629) was a Flemish historian, theologian, geographer, and cartographer. He fled to Amsterdam due to religious persecution becoming librarian and mathematic professor at Leyden University. He authored numerous works with his publication of Ptolemy’s Geographia his most noted. He was appointed the Official Cosmographer to Louis XIII in 1618 and relocated to Paris. His brother-in-laws were noted publishers and cartographers, Jodocus Hondius and Pieter van den Keere.

Lot: 1438 - David Roberts - The Simoom in the Desert [Approach of the Simoon, Desert of Gizeh]

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

Lot: 1439 - Chatelain - Large Map of Pacific & Americas [Carte tres curieuse de la Mer du Sud …]

This exceptional large format map of the Americas is entitled "Carte tres curieuse de la Mer du Sud, contenant des remarques nouvelles... mais aussy sur les principaux pays de l'Amerique... avec les noms & la route des voyageurs par qui la decouverte en a ete faite." It was part of Henri Abraham Chatelain's Atlas Historique. The work was published by the author in Amsterdam between 1718 and 1720. "One of the most elaborately engraved maps of the western hemisphere ever produced." (Schwartz & Ehrenberg, p.142; pl.85) The map was completed by Henri Chatelain with strong influence from Guillaume de l'Isle's work. This is a large engraved map of the Pacific and Americas originally presented on four sheets and now professionally joined. It detailed the Americas and trade and travel routes on the Pacific and Atlantic Oceans. The map shows Hudson Bay, Newfoundland, Labrador, the Great Lakes, Colonial United States, California [as an island, though he was one of the first to notate that it could be attached to continental North America], New Mexico, Louisiana, Florida, Illinois, New York, Carolina, Mexico, West Indies and Caribbean Islands, Peru, Chile, Paraguay, Brazil, Argentina, parts of Asia [China, Japan, Philippines], Australia, and parts of Europe and Africa. The title is set above the upper margin, each pair of sheets with graticuled border, the oceans marked with the tracks of the great Portuguese and Dutch navigators, Le Maire and Schouten, Magellan, Olivier van Noort and L'Hermite, lower and upper margins decorated with inset vignettes, plans of harbours and cities, portraits and explanatory texts. The lavish decoration, extensive texts and high quality engraving, together with the encyclopaedic texts, create an impressive image of the Pacific Ocean. Numerous insets and vignettes are present in the borders. They include scenes of European explorers, Niagara Falls, hunting, mills, mines, a Mexican Temple, human sacrific ritual, and more. Chatelain also included medallions recognizing explorers important to the discovery of America including: Christophe Colomb (Christopher Columbus), Amerique Vespuce (Amerique Vespucci), Olivier de Nord, Guillaume Dampierre, Magellan Portugais (Ferdinand Magellan), Jacques l'Hermite, François Darc, Guillaume Schouten (Willem Cornelisz Schouten), and Robert Cavelier de la Salle de Rouen (René-Robert Cavelier, Sieur de La Salle). 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: 1440 - De Bry & Le Moyne - Volume on Florida with Map + 42 Engravings (Complete)

This significant, historic volume is Theodor de Bry & Jacques Le Moyne's Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. The work was published in Frankfurt by Theodor de

Lot: 1441 - Edward Curtis - 5 Native American Photogravures

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

Lot: 1442 - Edward Curtis - 4 Native American Photogravures

4 Photogravures from different years of publication of Edward Curtis's The North American Indian From 1907: Shilhne'ohli - Navaho Sand Mosaic - Apache Description of the work: This moving photogravure in quarto size is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick

Lot: 1443 - Catlin, Folio - Joc-O-Sot, The Walking Bear, A Sauk Chief from the Upper Missouri U. S. Am

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: 1444 - Edward Curtis, Folio - Pair of Native American Photogravures of the Acoma

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

Lot: 1445 - Edward Curtis, Folio - Pair of Native American Photogravures of the Paguate

Included in this lot: A Paguate Entrance Replastering a Paguate House 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: 1446 - Karl Bodmer - Herd of Bisons and Elks on the Upper Missouri. 47

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: 1447 - Karl Bodmer - Péhriska-Rúhpa. Moennitarri Warrior in the Costume of the Dog Danse

Information on the image: Perhaps the greatest image to emerge from the picturing of the American West, and certainly Bodmer's most famous, this highly-charged portrait of Péhriska-Rúhpa ("Two Ravens") presents the warrior and chief of the Hidatsa in way that encapsulates the vanished era of the Plains Indian. The portrait has a great sense of immediacy, intensity, of noise and

Lot: 1448 - Brown - 6 Portraits of Important American Figures

Included in this lot: John Caldwell Calhoun John Quincy Adams John Tyler Daniel Webster Martin Van Buren Thomas Hart Benton Description of the work: This silhoutted portrait is from William Henry Brown's Portrait Gallery of Distinguished American Citizens, with biographical sketches. The work was published in Hartford in 1845. Most of the lithographed portraits will come with the accompanying facsimile letters from the historic figure depicted. Each of the lithographs are based on original sketches made from life by Brown.

Lot: 1449 - After Pablo Picasso & Buffon - Le Cheval (The Horse)

This striking aquatint engraving is from the work after Pablo Picasso and Georges Louis Leclerc comte de Buffon entitled "Eaux-Fortes Originales pour des Textes de Buffon". The work was published in Paris by Martin Fabiani in 1942. This is from number 59 of a total edition of 226 with this being one of the 55 special printings on vélin de Montval. The aquatints were printed by Roger Lacourière after original art by Pablo Picasso. "The Buffon is one of the greatest bestiaries of the 20th century. Picasso began these etchings in 1936 (he had promised them to Vollard, who died before their completion; Fabiani was one of Vollard's associates). It appears that the artist executed them rapidly, and with the utmost freedom. The master printer Lacourière had introduced Picasso, as well as Rouault and other artists, to the lift-ground or sugar aquatint process, which allowed a variety of tones and textures within a limited range. The spontaneity of the plates is attested by the freehand margins, the rapidly drawn line, and the use of fingerprints for textural variety." (Garvey, The Artist & the Book, 231) This aquatint is an artistic and wonderful interpretation after Pablo Picasso created from Buffon's work. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible." Pablo Picasso (1881-1973) was a Spanish painter, sculptor, printmaker, ceramicist, and theater designer. Most of his career was spent in France. He was one of the most eminent artists of the 20th century. He is arguably the most important figure to art and art movements in the 1900s.

Lot: 1450 - Chagall & Fontaine's Fables - The Two Parrots: The King and His Son [Les Deux Perroquets le Roi et Son Fils]

This striking etching is from Marc Chagall's illustrations for Jean de la Fontaine's Fables. The work was published in Paris by Teriade in 1952. This is from publication 139 of 200 published (15 of which were hors commerce copies in Roman numerals). Chagall produced the etchings for this work between 1927 and 1931. The art was commissioned by Ambroise Vollard and first published in this work in 1952. It blends Fontaine's collection of 17th century moral tales with Chagall's distinct style. Each aquatint etching is on BFK Rives woven paper. The original text page will be included unless noted in the condition statement. A photocopy of the title page and signed justification page will be included with the purchase. 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. Jean de la Fontaine (1621-1695) was a French poet and fabulist. He would become a prominent author in the French canon. He collected and adapted near 240 fables from Aesop, Phaedrus, as well as Eastern, Oriental, and Continental fables.

Lot: 1451 - Chagall & Fontaine's Fables - The Cat and the Two Sparrows [Le Chat et les Deux Moineaux]

This striking etching is from Marc Chagall's illustrations for Jean de la Fontaine's Fables. The work was published in Paris by Teriade in 1952. This is from publication 139 of 200 published (15 of which were hors commerce copies in Roman numerals). Chagall produced the etchings for this work between 1927 and 1931. The art was commissioned by Ambroise Vollard and first published in this work in 1952. It blends Fontaine's collection of 17th century moral tales with Chagall's distinct style. Each aquatint etching is on BFK Rives woven paper. The original text page will be included unless noted in the condition statement. A photocopy of the title page and signed justification page will be included with the purchase. 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. Jean de la Fontaine (1621-1695) was a French poet and fabulist. He would become a prominent author in the French canon. He collected and adapted near 240 fables from Aesop, Phaedrus, as well as Eastern, Oriental, and Continental fables.

Lot: 1452 - Miro, Signed, Rare - Illustration of the Childhood of Ubu

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

Lot: 1453 - Maitres Affiches by Mucha - Bieres de la Meuse

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: 1454 - Mucha, Folio - Illustration of Topless Woman

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: 1455 - Schumann - 6 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: 1456 - 9 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Rhus luciddum after Herz for Jacquin Hermannia Lavandulifolia after Scmid for Jacquin Varronia Monosperma after Ledelmaier for Jacquin Ribes Uva Crispa after Ledel Erica Monsoniana after Ledel for Aiton Erica Halicacaba after Ledel for Aiton Erica Sexfaria after Ledel for Aiton Erica Longifolia after Aiton for Ledel Erica Urceolaris after Ledel for Aito 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: 1457 - Cramer - 6 Butterfly Engravings

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

Lot: 1458 - 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: 1459 - Seba - Pair of Engravings with Bats, Snakes, Birds

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: 1460 - Seba - 4 Engravings with Iguana, Lizards, Snakes, Frogs or Toads, Birds, Plants

This artistically composed, scientific folio engraving is from Albertus Seba’s "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiosissimis expressio, per universam physices historiam". The work was published in Amsterdam between 1734 and 1765. Plates from volumes 1 & 2 were published by Janssonio-Waesbergios, & J. Wetstenium, & Gul. Smith; Volume 3 by Janssonio-Waesbergios; Volume 4 by H. C. Arkesteum and H. Merkum, Peter Schouten. Seba utilized leading scientists to aid in creating "Locupletissimi…" including H. Boerhaave, P. van Musschenbroek, P. Massuet, H. D. Graubius, and P. Artedi. The work was considered the finest published Wunderkammer, or Cabinet of Curiosities. Seba developed an interest in exotic species from his travels on the East and West Indies and purchases from world travelers. He exploited his relationship with the Dutch East India Company to advance his collection thus gathering specimens from Sri Lanka, Greenland, Indonesia, Brazil, and other far-flung places. Many of the plates from the work depicted specimens from Seba’s own collection. The sensational engravings are both scientifically accurate and aesthetically appealing. Seba’s “cabinet of curiosities” included beautiful and bizarre subjects and attracted many natural historians, including Carl Linnaeus. Seba’s cabinet played an important part in the Linnaeus classification of the natural world. Maria Sybilla Merian also utilized his cabinet to complete her great work on Surinamese insects. Not lacking humor, Seba placed fake specimens in his cabinet including a seven-headed hydra in order to attract attention. Some of Seba’s original collection is still on display in museums around the world.

Lot: 1461 - Catesby, Folio - Rattlesnake (Canebrake Rattlesnake). 2-41

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.

Lot: 1462 - Catesby, Folio - Wampum Snake with Red Lily (Catesby’s Lily). 2-58

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.

Lot: 1463 - Catesby, Folio - Cutwater. 1-90

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.

Lot: 1464 - Catesby, Folio - Blue Winged Shoveler. 1-96

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.

Lot: 1465 - Catesby, Folio - Blue Linnet. 1-45

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

Lot: 1466 - Catesby, Folio - Chatterer. 1-46

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.

Lot: 1467 - Gould - Black-necked Aracari or Toucan [Pteroglossus Aracari]

This exquisite lithograph is from the first edition of John Gould's A Monograph of the Ramphastidae, or Family of Toucans. This is from the second edition of the work which was published in London by Taylor & Francis for the Author between 1852 and 1854. The original plates were completed by Gould and H. C. Richter and printed by Hullmandel & Walton. Many consider this work to contain the most stunning images Gould ever produced. The toucans are represented with true-to-life details. Rich, luminous colors and splendid composition combine to make the Toucans come to life on the page. Gould was the foremost bird artist and publisher in Great Britain, publishing over 15 folio sets. He employed the best artists of his day to complete his works. A Monograph of the Ramphastidae features lithographs after Gould himself, 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: 1468 - Redoute, Choix, Rare Folio - Boquet of Camellias [Bouquet de Camelias Narcisses et Pensees]

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

Lot: 1469 - Redoute, Choix, Rare Folio - Peony [Paeonia]

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: 1470 - Redoute, Choix, Rare Folio - Peony [Gentiana acaulis (Paeonia)]

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: 1471 - Redoute, Choix, Rare Folio - 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: 1472 - Thornton, Folio - Pitcher Plant (Carnivorous)

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: 1473 - Thornton, Folio - Tulips

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: 1474 - Claesz - Pair of Original Watercolors of Tulips

This exquisite pair of tulip watercolors were completed circa 1630 likely done by Anthony Claesz II. The watercolors were done at the height of Tulipomania and depict some of the rare and more valuable tulip varieties with striped petals. The watercolors present are very well matched to Robert Noortman's collection sold and studied in 1987. S. Segal compared the watercolors with a drawing on vellum signed A. C. or Anthony Claesz. Anthony Claesz (1607-1649) was a Dutch painter. He worked predominantly in Amsterdam. He studied under Balthasar van der Ast and took influence from the art of Hans Bollongier.

Lot: 1475 - Audubon, Imperial Folio - Arctic Fox. 121

This exceptional folio lithograph is from John James Audubon's The Viviparous Quadrupeds of North America. It was part of the Imperial Folio Edition published between 1845 and 1851. 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. The print is a stone lithograph which features original hand-coloring completed by noted printer James T. Bowen of Philadelphia. Great care was taken in the lithography and hand-coloring of the print to give the animal fur a truly realistic appearance. Audubon worked on the quadrupeds for fifteen years and studied the animals in their natural habitats and collected skins. It was the first work of this size done on American quadrupeds and a landmark for natural science in America. Audubon detailed many frontier animals for the first time, and the work helped spark public interest in the natural flora and fauna of America. When he undertook the research for this publication, he wrote his collaborator Rev. James Bachman "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed! Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." (Streshinsky, Audubon, p. 332) Quadrupeds would be his last major work and expedition. He completed half of the drawings before his health began to deteriorate, but it was a true collaboration with his son, John Woodhouse Audubon. John James Audubon served as "...the genius and guiding hand. Audubon was the person who conceived the projects and had the enthusiasm and determination to see them through. He was the artist, the author, the designer, and, when the time came, the salesman. As the success of the 'little work' grew, Audubon’s dominant role in the process became more apparent." (Ron Tyler)

Lot: 1476 - John James Audubon's Birds of America - 7 Volume set with 500 Originally Hand-colored Lithographs

This is the first edition, seven volume set with 500 originally hand-colored lithographs of John James Audubon's Birds of America. The work was published by E. G. Dorsey and J. B. Chevalier for J. J. Audubon in New York and Philadelphia between 1840 and 1844. The volumes are bound in mid-19th century full tan crushed morocco, spines in six compartments with red morocco spine labels, gilt spine panel decorations in a repeating geometric flag pattern. All edges are gilt, covers double-ruled in gilt and blind with gilt turn-ins and marbled endpapers. Each volume has the half-titles and subscription lists. The work was completed under the direct supervision of J. J. Audubon. The plates were reduced with some modifications by John W. Audubon from the double elephant Havell engravings, adding some new species and depictions of birds with this first edition of the octavo plates. The lithography and hand-coloring were completed by J. T. Bowen. This edition is also the first appearance of the text to accompany the plates. Prints and thus this beautiful complete set in truly wonderful condition of Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible. This first edition set is one of the only realistic ways to own Audubon's collection that was approved by the artist himself.