Antique Prints, Maps, & Books of Natural

Lot: 1601 - Merian & Jonston - 9 Bull, Horse, Donkey, & Zebra Engravings

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

Lot: 1602 - Merian & Jonston - 3 Dog Engravings

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

Lot: 1603 - Merian & Jonston - Pair of Peacock Engravings

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

Lot: 1604 - Hamilton - 4 Engravings of a Painting from a Grecian Vase

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

Lot: 1605 - Edmondson - 4 Engravings of Family Crests or Shields

Included in this lot: Family Crest or Shield of William Fitz-Roy, Duke of Cleveland and Southampton Family Crest or Shield of George Augustus Frederick, the Future King George IV Family Crest or Shield of Charles Lenox, Duke of Richmond, Lenox & Aubigny Family Crest or Shield of Augustus Henry Fitz-Roy, Duke of Grafton 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: 1606 - Piranesi, Folio - Another view of the remains of the pronaos of the Temple of Concord [Altra Veduta degli avanzi del Proneao del Tempio della Concordia]

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: 1607 - Piranesi, Folio - Cross-section of the interior of St. Paul’s Basilica Outside the Walls [Spaccato interno della Basilica di S. Paolo fuori delle Mura]

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: 1608 - Gould, Australia - 7 Bird Lithographs

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

Lot: 1609 - Gould, Australia - Papuan Frogmouth [Podargus Cuvieri]

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: 1610 - Gould, Australia - Pair of Bird Lithographs: Tropicbird & Frigate Bird

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

Lot: 1611 - Gould, Australia - New Holland Darter (Australasian Darter) [Plotus Novae-Hollandiae]

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: 1612 - Gould, Australia - White Tern [Gygis Candida]

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: 1613 - Forster's Magazin - 2 Volumes with 12 Engravings

These two volumes are volumes 10 and 11 of a set of German translations of travel accounts entitled Magazin von merkmurdigen neuen Reischbeschreibungen. They were published in 1793 and 1794, respectively, in Berlin, by Bossischen Buchhandlung. The series was begun by Georg Forster. The volumes were bound in contemporary calf. The 10th volume is William Bartram’s travel account of North Carolina, South Carolina, Georgia, & East and West Florida. It features 8 engravings. The 11th volume is a compilation of travel accounts which all took place in modern day Oceania. There are 4 engravings including two that feature Australia or New Holland. William Bligh is included in the work who served on Captain Cook's third voyage as the Master of HMS Resolution. William Bartram (1739-1823) was an early American naturalist and ornithologist. He was born and died in Pennsylvania and has been described as “the first naturalist who penetrated the dense tropical forests of Florida” (Speier, 1848). Many of the birds depicted in John James Audubon’s, The Birds of America are named after him.

Lot: 1614 - Captain Cook, Folio - Pair of Engravings of Australia & New Zealand

Included in this lot: The Inside of a Hippah, in New Zealand (Zeeland) A View of Anamooka (Australia) Description of the work: This fascinating folio engraving is from Captain James Cook & James King's A Voyage to the Pacific Ocean, for making Discoveries in the Northern Hemisphere. To determine the Position and Extent of the West Side of North America; its Distance from Asia; and

Lot: 1615 - Captain Cook, Folio - A Man of the Sandwich Islands, Dancing (Hawaii)

This fascinating folio engraving is from Captain James Cook & James King's A Voyage to the Pacific Ocean, for making Discoveries in the Northern Hemisphere. To determine the Position and Extent of the West Side of North America; its Distance from Asia; and the Practicality of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in His Majesty's Ships the Resolution and Discovery; in the Years 1776, 1777, 1778, 1779, and 1780. The work was published in London by H. Hughs for G. Nicol and T. Cadell in 1785. It is the official account of Cook's 3rd and last voyage, during which he explored Hawaii and the west coast of America, Canada, and Alaska. James Cook was already a celebrated Captain by 1776, having completed two scientific expeditions for the Admirality and Royal Society. He embarked on this third voyage on the HMS Resolution and HMS Discovery in hopes to find the Northwest passage. The passage was blocked by ice, but it resulted in Cook's discovery of the Hawaiian Islands, the charting of Alaska's coastling, and the exploration of the North Specific up to 70° N. The expedition returned South to Hawaii where Captain Cook met his untimely demise over a fight over the theft of a cutter in Kealakekua Bay. His second lietenant, James King, made a second attempt at the Northwest passage before returning to England via China and the Thames. King completed the third volume from which these engravings are offered. "The famous accounts of Captain Cook's three voyages form the basis for any collection of Pacific books. In three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than all his predecessors had done together. He was really the first scientific navigator and his voyages made great contributions to many fields of knowledge" (Hill). "Cook's third voyage was organized to seek the Northwest Passage and to return [the islander] Omai to Tahiti. Officers of the crew included William Bligh, James Burney, James Colnett, and George Vancouver. John Webber was appointed artist to the expedition. After calling at Kerguelen Island, Tasmania, New Zealand, and the Cook, Tonga, and Society Islands, the expedition sailed north and discovered Christmas Island and the Hawaiian Islands, which Cook named the Sandwich Islands. Cook charted the American west coast from Northern California through the Bering Strait as far north as latitude 70 degrees 44 minutes before he was stopped by pack ice. He returned to Hawaii for the winter and was killed in an unhappy skirmish with the natives over a boat. Charles Clarke took command and after he died six months later, the ships returned to England under John Gore. Despite hostilities with the United States and France, the scientific nature of this expedition caused the various governments to exempt these vessels from capture. The voyage resulted in what Cook judged his most valuable discovery - the Hawaiian Islands" (Hill).

Lot: 1616 - Ellis, Hawaii - Waterfall in Byron Bay

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

Lot: 1617 - Ellis, Hawaii - Lord Byron's House at Byron Bay

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

Lot: 1618 - Ellis, Hawaii - Morai near Karakakooa

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

Lot: 1619 - Ellis, Hawaii - View near Honoruru, Oahu (Honolulu)

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

Lot: 1620 - Ellis, Hawaii - Missionary Houses in Byron Bay

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

Lot: 1621 - Rothschild & Keulemans, Hawaii - Eggs of hawaiian Birds & Nest

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: 1622 - Rothschild & Keulemans, Hawaii - Laysan Duck [Anas Laysanensis]

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: 1623 - Rothschild & Keulemans, Hawaii - Pair of Maui Honeycreepers

Included in this lot: Maui Nukupu'u or Honeycreeper (Extinct) [Heterorhynchus Affinis] Maui ʻalauahio or Honeycreeper [Oreomyza Newtoni] Description of the work: 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: 1624 - Rothschild & Keulemans, Hawaii - Kakawahie or Moloka'i creeper (Extinct) [Oreomyza Flammea]

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: 1625 - Bayer - Pair of Constellation or Star Charts of Aquarius (Man & Water Vessel) & Hercules (Man with Club & Bouquet)

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

Lot: 1626 - Fessenkov & Rozhovsky - Pair of Gasous Dust Nebulae Photographs

Included in this lot: Gas and dust nebula in the constellation Unicorn NGC 2237-8-9] [Gas and dust nebula NGC 6523 (Lagoon) in the constellation Sagittarius] 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: 1627 - Flamsteed - Pair of Constellation or Celestial Charts of Leo (Lion), Lynx & Eagle, Fox, Dolphin, Taurus (Bull)

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: 1628 - Flamsteed - Pair of Constellation or Celestial Charts of Hercules, Crown & Serpent & Serpent-bearer

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: 1629 - Van Keulen, Rare - Coastal Chart of Brittany

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

Lot: 1630 - Van Keulen, Rare - Coastal Map from Coasta Rico to Honduras (Cartagena)

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

Lot: 1631 - Laurie & Whittle - Map of Minorca [The Island of Minorca, from the last Surveys]

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

Lot: 1632 - Laurie & Whittle - Pair of Maps of Italy & Sicily

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

Lot: 1633 - Laurie & Whittle - Map of China [The Empire of China, with its principal Divisions]

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

Lot: 1634 - Chatelain - 6 Engravings of Africa, Barbary, Nigeria, Guinea, Tunis, Morocco, Fez

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

Lot: 1635 - Chatelain - 5 Engravings of Egypt, Nile, Pyramids, Cairo

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

Lot: 1636 - Chatelain - 8 Engravings of Italy, Rome, Vatican, Mediterranean

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

Lot: 1637 - Chatelain - Celestial Chart, Armillary Sphere, Scientific Diagrams

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

Lot: 1638 - Chatelain - Map of the World with Insets of the Surface of the Sun & Moon

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

Lot: 1639 - Chatelain - Map of Canada or New France with Great Lakes & New England

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

Lot: 1640 - Munster, pub. 1598 - Map of Transylvania, Romania

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 1641 - Munster, pub. 1598 - 3 Engravings of Germany & Switzerland

Included in this lot: View of Hamburg, Germany & Sword Fight View of Nordlingen, Germany View of Zurich, Switzerland Description of the work: This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 1642 - Munster, pub. 1598 - View of Tunis, Tunisia, Africa

This very old woodcut is from Sebastian Munster's "Cosmographey: das ist Beschreibung aller Länder [...]" It was published in Basel in 1598 by Henric Petri. The work was a massive chronicle of all the geographical knowledge of the world to that point. The work included world maps as well as views of smaller cities and woodcut illustrations of historical subjects, mythology, natural history and ethnography. It was the first work to show America in its "correct" continental form and "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to name the Pacific Ocean. Sebastian Munster (1489-1552) was a German cartographer, cosmographer, and a Hebrew scholar. He also became a Franciscan monk at an early age. Munster's Cosmographia was the first work of scientific based knowledge in the German language.

Lot: 1643 - Braun & Hogenberg, pub. 1575 - View of Sevilla, Spain

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: 1644 - Braun & Hogenberg, pub. 1575 - View of Meissen, 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: 1645 - Kircher, pub. 1682 - Chart of the Mediterranean Sea

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: 1646 - Kircher, pub. 1682 - Map of the World

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: 1647 - Kircher, pub. 1682 - Map of North America

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: 1648 - De La Croix - 5 Engravings of Netherlands & Belgium (Amsterdam, Antwerp, Utrecht)

Included in this lot: View of Amsterdam, Netherlands Town Hall of Amsterdam, Netherlands View of Antwerp, Belgium Map of Utrecht, Holland Map of the Netherlands (Holland) Description of the work: This fascinating engraving is Antoine Pherotee de la Croix's Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise … Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln … hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden … beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing:substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn’s Eine Nachricht wegen der Landschafft Pennsilvania." (A.-L.) Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 1649 - De La Croix - 3 Engravings of Sweden & Scandinavia

Included in this lot: View of Stockholm, Sweden View of Copenhagen, Sweden Map of Scandinavia (Sweden, Finlland, Norway, Denmark Description of the work: This fascinating engraving is Antoine Pherotee de la Croix's Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise … Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln … hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden … beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing:substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn’s Eine Nachricht wegen der Landschafft Pennsilvania." (A.-L.) Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 1650 - De La Croix - 3 Engravings of Rome, Italy, Sicily

Included in this lot: View of Rome, Italy Map of Sicily Map of Italy Description of the work: This fascinating engraving is Antoine Pherotee de la Croix's Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise … Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln … hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden … beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing:substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn’s Eine Nachricht wegen der Landschafft Pennsilvania." (A.-L.) Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 1651 - De La Croix - Pair of Engravings of France & Paris

Included in this lot: View of Paris, France Map of France Description of the work: This fascinating engraving is Antoine Pherotee de la Croix's Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise … Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln … hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden … beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing:substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn’s Eine Nachricht wegen der Landschafft Pennsilvania." (A.-L.) Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 1652 - De La Croix - 4 Engravings of England, London, Scotland, British Isles

Included in this lot: Map of the British Isles Map of England View of London, England Map of Scotland Description of the work: This fascinating engraving is Antoine Pherotee de la Croix's Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise … Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln … hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden … beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing:substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn’s Eine Nachricht wegen der Landschafft Pennsilvania." (A.-L.) Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 1653 - De La Croix - Map of North America focused on Mexico & New Spain (After Kitchin)

This fascinating engraving is Antoine Pherotee de la Croix's Geographia Universalis. This is the German edition fully titled Allgemeine Welt-Beschreibung nach neuer Art und Weise … Darinnen ersichtlich von der natürlich-himmlischen und künstlichen nachgemachten Sphaera, Erd- und Himmelskugeln … hernach die Theile der Welt, wie solche in ihre Käyserthümer, Königreiche unterschieden … beschrieben. Übersetzet u. vermehret, samt einer neuen Vorrede hrsg. von H. Dicelius. This edition was published in Leipzig in 1705 by Francois Halma. Hieronymus Dicelius translated the work into German. The work included several maps and astronomical engravings as well as depictions of native people in culture. The work was noted for containing:substantial material on America, along with a special index of East and West Indian topics. Includes W. Penn’s Eine Nachricht wegen der Landschafft Pennsilvania." (A.-L.) Antoine Pherotee de la Croix (1640-1715) was a French scholar and writer. He published several works in his lifetime and was devoted to teaching history, geography, and mathematics.

Lot: 1654 - Van der Aa - Map of the Voyages by Thomas Cavendish to the West Indies [Zee-Togten door Thomas Candys na de West Indien; en van daar random den gantzen Aardkloot gedaan]

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

Lot: 1655 - Van der Aa - Map of Southeast Asia, East Indies [De Vaste Kusten en Eylanden van Indien, van Pegu en Malaccca af. Tot aan de Moluccos, etc.]

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

Lot: 1656 - Van der Aa - Map of the Coast of Chicora between Florida and Virginia [De Vaste Kust van Chicora Tussen Florida en Virginie door Luena Vasques d'Ayllan en Andore van Hispaniola Besterend]

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

Lot: 1657 - Ortelius, pub. 1575 - Map of Asia

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: 1658 - De Fer - Map of Sicily

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

Lot: 1659 - De Fer - Map of Europe

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

Lot: 1660 - De Fer - Map of the Russian Empire (Trade Routes from Moscow to Beijing ("Pekim"))

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

Lot: 1661 - De Fer - Map of the Americas [L’Amerique, Meridionale, et Septentrionale]

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

Lot: 1662 - De L'Isle - Map of Mexico & Florida (Texas, Mexico, Louisiana, Great Lakes, West Indies, New England)

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

Lot: 1663 - Edward Curtis - Atsina Crazy Dance - A Dancer Kisses the Grandfather

This moving photogravure in quarto size is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 1909 in Cambridge, Massachusetts. This was part of # 198 of a proposed edition of 500 (though about 272 sets are believed to be completed). The photogravures depict Native Americans from the Mandan, Arikara, and Atsina cultures. Curtis's work was a remarkable record of native American life and one of the most ambitious anthropological studies done. W. H. Holmes, Chief of the Bureau of American Ethnology in 1910, stated that this "publication should last for a thousand years." The North American Indian was referred to as “the most gigantic undertaking since the making of the King James Edition of the Bible” and containing “the most exquisite book art of our time.” Edward Sheriff Curtis (1868-1952) was an American photographer and ultimately historian of the American West. He travelled extensively for three decades living with the Native American tribes. He immersed himself in their customs, languages and beliefs. He detailed and photographed the tribes creating a truly comprehensive look into their lives.

Lot: 1664 - Edward Curtis - A Sia Man

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: 1665 - Lewis - Pair of Pottowattomie Chief Lithographs

Included in this lot: Pach-E-Po, A Pottowattomie Chief Pe-Che-Co, A Pottowattomie Chief Description of the work: This originally hand-colored lithograph is from one of the rarest Indian works, James Otto Lewis’s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hall’s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region. Lewis’s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865.

Lot: 1666 - Karl Bodmer - Mahsette-Kuiuab, Chief ot he Croc-Indians. 22

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: 1667 - Karl Bodmer - Dacota Woman and Assiniboin Girl. 9

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: 1668 - Prang's American Card Album with Winslow Homer's "Life in Camp" - Album with 300 Card Chromolithographs

This is an important and rare Americana collection with 300 cards is Louis Prang's American Card Album. The cards were published by L. Prang & Co in 1864 in Boston. The volume is bound in contemporary green calf over beige cloth, spine gilt lettered, metal clasps. The title leaf is printed in gold. There are 300 chromolithographed cards in total mounted to gray card album pages. It includes the rare 12 card second series of "Life in Camp" by Winslow Homer. It also includes other Prang series including: "Views in Central Park, New York" (24), "White Mountain Scenery" (12), "Winter Scenes" (12), as well as various chromos on the following subjects: roses, plants and Herbs (84), ferns & mosses (24), leaves (24), butterflies (24), birds (48), farm animals (12), America & the world (12). Prang and Homer issued the "Life in Camp" series in December of 1864. "A careful examination of [these images] reveals in rough form the subject matter of two of Homer's wartime canvases." (Neely & Holzer, The Union Image: Popular Prints of the Civil War North, pp 69-70) In December of 1863, during the creation of Campaign Sketches, Homer had written to Prang, "The stone was received all right. I shall commence it very soon, probably send it to you week from Wednesday," evincing the very real possibility that Homer himself drew the images for these lithographs on stone. Louis Prang (1824-1909) was an American printer, lithographer, and publisher. He has been referred to as the "father of the American Christmas Card." Winslow Homer (1836-1910) was an American painter and printmaker. He began as an apprentice in 1854 in Boston working for John H. Bufford and by 1859 he was creating illustrations for Harper's Weekly. He created some of the most important and valued illustrations during the Civil War. Provenance: Susan F. Willis (contemporary inscription from father)

Lot: 1669 - Chagall & Fontaine's Fables - The Fox and the Turkeys [Le Renard & Les Poulets D'Inde]

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: 1670 - Chagall & Fontaine's Fables - The Fish and the Shepherd Playing the Flute [Les Poissons & Le Berger qui Joue de la Fluet]

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: 1671 - Chagall & Fontaine's Fables - The Partridge and the Roosters [La Perdix et Les Coqs]

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: 1672 - Chagall & Fontaine's Fables - The Tortoise and the Two Ducks [La Tortue & Les Deux Canards]

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: 1673 - Mucha, Folio - Pair of Lithographs of Serving Dishes

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: 1674 - Mucha, Folio - Interior Decor or Design. 67

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: 1675 - Mucha, Folio - Design or Motif. 55

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: 1676 - Mucha, Folio - Animal or Women Design or Motif (Turtle, Fish, Beetle). 60

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: 1677 - Mucha, Folio - Illustration of Topless Woman in Tree. 5

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: 1678 - Schumann - 7 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: 1679 - Van Houtte - 11 Leafy Plant Prints

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

Lot: 1680 - Van Houtte - 4 Prints on Harvesting Rice, Creating Paper, Palm, Banana

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

Lot: 1681 - Van Houtte - 5 Orchid Prints

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

Lot: 1682 - Van Houtte - 6 Botanical Prints

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

Lot: 1683 - Descourtilz - 3 Squash or Cucumber Engravings

This beautiful stipple engraving is from Michel Etienne Descourtilz's Flore Pittoresque et Medicale des Antilles ou histoire naturelle des Plantes usuelles des colonies Francaises, Anglaises, Espagnoles et Portugaises. The work was published in Paris in 1833 by Chez l'Editeur. Each stipple engraving was printed in color but finished by hand after Theodore Descourtilz. Michel Descourtilz (1775-1839) was a French medical doctor, botanist and historian. He first focused on the medicinal properties of the plants featured. He then included plates which featured plant with commercial potential. However, this work may be most known for the tropical flora that was featured which truly showed the beautiful flora of the area.

Lot: 1684 - Descourtilz - 3 Orange or Citrus Engravings

This beautiful stipple engraving is from Michel Etienne Descourtilz's Flore Pittoresque et Medicale des Antilles ou histoire naturelle des Plantes usuelles des colonies Francaises, Anglaises, Espagnoles et Portugaises. The work was published in Paris in 1833 by Chez l'Editeur. Each stipple engraving was printed in color but finished by hand after Theodore Descourtilz. Michel Descourtilz (1775-1839) was a French medical doctor, botanist and historian. He first focused on the medicinal properties of the plants featured. He then included plates which featured plant with commercial potential. However, this work may be most known for the tropical flora that was featured which truly showed the beautiful flora of the area.

Lot: 1685 - Descourtilz - Pair of Melon Engravings

This beautiful stipple engraving is from Michel Etienne Descourtilz's Flore Pittoresque et Medicale des Antilles ou histoire naturelle des Plantes usuelles des colonies Francaises, Anglaises, Espagnoles et Portugaises. The work was published in Paris in 1833 by Chez l'Editeur. Each stipple engraving was printed in color but finished by hand after Theodore Descourtilz. Michel Descourtilz (1775-1839) was a French medical doctor, botanist and historian. He first focused on the medicinal properties of the plants featured. He then included plates which featured plant with commercial potential. However, this work may be most known for the tropical flora that was featured which truly showed the beautiful flora of the area.

Lot: 1686 - Descourtilz - Pair of Watermelon & Cantelope Engravings

This beautiful stipple engraving is from Michel Etienne Descourtilz's Flore Pittoresque et Medicale des Antilles ou histoire naturelle des Plantes usuelles des colonies Francaises, Anglaises, Espagnoles et Portugaises. The work was published in Paris in 1833 by Chez l'Editeur. Each stipple engraving was printed in color but finished by hand after Theodore Descourtilz. Michel Descourtilz (1775-1839) was a French medical doctor, botanist and historian. He first focused on the medicinal properties of the plants featured. He then included plates which featured plant with commercial potential. However, this work may be most known for the tropical flora that was featured which truly showed the beautiful flora of the area.

Lot: 1687 - Descourtilz - Pair of Pineapple Engravings

This beautiful stipple engraving is from Michel Etienne Descourtilz's Flore Pittoresque et Medicale des Antilles ou histoire naturelle des Plantes usuelles des colonies Francaises, Anglaises, Espagnoles et Portugaises. The work was published in Paris in 1833 by Chez l'Editeur. Each stipple engraving was printed in color but finished by hand after Theodore Descourtilz. Michel Descourtilz (1775-1839) was a French medical doctor, botanist and historian. He first focused on the medicinal properties of the plants featured. He then included plates which featured plant with commercial potential. However, this work may be most known for the tropical flora that was featured which truly showed the beautiful flora of the area.

Lot: 1688 - Descourtilz - 3 Passion Flower Engravings

This beautiful stipple engraving is from Michel Etienne Descourtilz's Flore Pittoresque et Medicale des Antilles ou histoire naturelle des Plantes usuelles des colonies Francaises, Anglaises, Espagnoles et Portugaises. The work was published in Paris in 1833 by Chez l'Editeur. Each stipple engraving was printed in color but finished by hand after Theodore Descourtilz. Michel Descourtilz (1775-1839) was a French medical doctor, botanist and historian. He first focused on the medicinal properties of the plants featured. He then included plates which featured plant with commercial potential. However, this work may be most known for the tropical flora that was featured which truly showed the beautiful flora of the area.

Lot: 1689 - Weinmann - 8 Engravings of Mallow, Hibiscus, Hollyhock, Garden Balsam

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

Lot: 1690 - Weinmann - 4 Anemone Engravings

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

Lot: 1691 - Weinmann - 4 Engravings of Arum & Calla Lily

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

Lot: 1692 - 4 Original Botanical Watercolors (according to Linnaeus system)

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

Lot: 1693 - 4 Original Botanical Watercolors (according to Linnaeus system)

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

Lot: 1694 - 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: 1695 - Cramer - 4 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: 1696 - Kiener - 11 Shell Engravings

This rare, originally hand-colored shell engraving is from Louis-Charles Kiener's Species général et iconographie des coquilles vivantes, comprenant la collection du Muséum d'Histoire Naturelle de Paris, la collection Lamarck, celle du Prince Masséna et les découvertes récentes des Voyageurs. This first edition volume was published in Paris between 1834 and 1880 by Rousseau, Bailliere, s.d. This was at the time that lithography was becoming the popular mode of publication, but Kiener chose to use stipple engraving with original hand-coloring for each plate in the work. It was an expansive work on conchology that classified the shells according to the systems of Cuvier and Lamarck. Kiener used the famous Delessert collection and the Natural History Museum of Paris to illustrate his work. Together these collections were the most varied fund of conchological material available. "He soon put it to good use; and in 1834 he published the first part of his Spécies. This exquisitely illustrated iconography, started before the Sowerbys and Reeve began to issue theirs, appeared at intervals up to 1879, when eleven volumes had been completed. All devoted to the illustration of marine gastopods with the exception of the tenth volume, which includes a monograph on the bivalve genus Thracia. The eleventh volume is the work of Paul Fischer. All the illustrations are by celebrated French engravers and artists of the day." (Dance. Hist. of Shell Collecting p. 137)

Lot: 1697 - Audubon - 4 Squirrel Lithographs

Included in this lot: Red-bellied Squirrel. 38 Downy Squirrel. 25 Fox Squirrel. 68 Say's Squirrel. 89Included in this lot: Texan Skunk. 53 Red Texan Wolf. 82 Texan Lynx. 92 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1698 - Audubon - 5 Quadruped Lithographs (Weasel, Ferret)

Included in this lot: Bridled Weasel. 60 Little American Brown Weasel. 64 White Weasel Sloat. 59 Black Footed Ferret. 93 Ring-tailed Bassaris. 98 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1699 - Audubon - Pair of Hare Lithographs

Included in this lot: Worm-wood Hare. 88 Nutall's Hare. 94 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1700 - Audubon - 3 Quadruped Lithographs (Skunk, Wolf, Lynx)

Included in this lot: Texan Skunk. 53 Red Texan Wolf. 82 Texan Lynx. 92 Description of the work: This octavo lithograph is from John James Audubon's "The Quadrupeds of North America". The work was published in New York between 1849 and 1854. "Quadrupeds" was Audubon's final great natural history work. His animal drawings are still considered some ofthe finest prints published in America. The folio edition of this work marked the first time that America's animals were described and illustrated in one publication and the octavo publication continued that effort. Audubon and his son, John Woodhouse, drew all of the quadrupeds in the work. Victor Gifford Audubon drew the backgrounds for many of the prints.

Lot: 1701 - Greene - 7 Parrakeet & Love-Bird Prints

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

Lot: 1702 - Lemaire - 20 Bird Prints (Hummingbirds, Cardinal, Tanager, Jay, Roller, Kingfisher, Cock-of-the-rock)

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

Lot: 1703 - Gould, Pattern Plates - 6 Bird Lithographs

Plates from Gould's Birds of Great Britain:Buff-breasted Sandpiper [Tryngites Rufescens]Great Shearwater [Puffinus Major]Arctic Skua [Stercorarius Parasiticus]Description of the work:This remarkable folio lithograph with hand-finished color is from the esteemed John Gould’s Birds of Great Britain. The work was published in London between 1862 and 1873.The plate available here is a pattern

Lot: 1704 - Gould, Asia - 8 Bird Lithographs

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

Lot: 1705 - Gould, Asia - Caucasian Black Grouse [Tetrao Mlokosiewiczi]

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

Lot: 1706 - Cory, Elephant Folio - 4 Bird of Paradise Prints

Included in this lot: Black-billed Sicklebill [Drepanornis Albertisi] Spotted Bower-Bird [Chlamydodera Maculata] Rifle Bird [Ptiloris Paradiseus] King Bird of Paradise [Cicinnurus Regius] Description of the work: This folio hand-colored chromolithograph is from Charles Barney Cory's Beautiful and Curious Birds of the World. The work was published by the author in Boston in 1883. This spectacular chromolithograph comes from the Cory's extremely rare work. The large folio chromolithographs are considered one of the finest ornithological works of its day. In the preface to his great work, Cory states: 'In writing the present work I have striven to bring together some of the wonderful examples of the ornithological world, and to illustrate them in such a manner that others besides naturalists may become acquainted with the beautiful forms of bird life which inhabit our globe.' Given Cory's stated aim it is unsurprising that he has concentrated on the most spectacular bird family of all: the Birds of Paradise and their relatives the Lyre Bird and the Spotted Bower bird.

Lot: 1707 - Johnson, Original Watercolor - African Grey Parrot

This scarce and splendid gouache watercolor illustration is from Theophilus Johnson's Illustrations of Typical Birds. Each gouache watercolor illustration is heightened with gum arabic and mounted to a larger board. The work was published by Dartford Heath in 1900. This is a first series and one of the few works Johnson printed in folio. There appears to be very few of this work that has ever come to market. "Theophilus Johnson (1836-1919) was an amateur naturalist and artist, who produced a considerable number of natural history books during the latter half of the nineteenth and early twentieth centuries. These are remarkable in being entirely illustrated with original watercolours and drawings by Johnson himself, as well as having text either printed or written in excellent longhand by him. I t is not known how many such books he completed. The Natural History Museum, London, holds 29 (all but five relating to entomology) and the Zoological Society holds four more." (Howard Radclyffe) Provenance: Sotheby's 1993; Bradley Martin Sotheby's New York sale, 1989

Lot: 1708 - Johnson, Original Watercolor - Cockatoos

This scarce and splendid gouache watercolor illustration is from Theophilus Johnson's Illustrations of Typical Birds. Each gouache watercolor illustration is heightened with gum arabic and mounted to a larger board. The work was published by Dartford Heath in 1900. This is a first series and one of the few works Johnson printed in folio. There appears to be very few of this work that has ever come to market. "Theophilus Johnson (1836-1919) was an amateur naturalist and artist, who produced a considerable number of natural history books during the latter half of the nineteenth and early twentieth centuries. These are remarkable in being entirely illustrated with original watercolours and drawings by Johnson himself, as well as having text either printed or written in excellent longhand by him. I t is not known how many such books he completed. The Natural History Museum, London, holds 29 (all but five relating to entomology) and the Zoological Society holds four more." (Howard Radclyffe) Provenance: Sotheby's 1993; Bradley Martin Sotheby's New York sale, 1989

Lot: 1709 - Johnson, Original Watercolor - Yellow-headed Conure (Parrot)

This scarce and splendid gouache watercolor illustration is from Theophilus Johnson's Illustrations of Typical Birds. Each gouache watercolor illustration is heightened with gum arabic and mounted to a larger board. The work was published by Dartford Heath in 1900. This is a first series and one of the few works Johnson printed in folio. There appears to be very few of this work that has ever come to market. "Theophilus Johnson (1836-1919) was an amateur naturalist and artist, who produced a considerable number of natural history books during the latter half of the nineteenth and early twentieth centuries. These are remarkable in being entirely illustrated with original watercolours and drawings by Johnson himself, as well as having text either printed or written in excellent longhand by him. I t is not known how many such books he completed. The Natural History Museum, London, holds 29 (all but five relating to entomology) and the Zoological Society holds four more." (Howard Radclyffe) Provenance: Sotheby's 1993; Bradley Martin Sotheby's New York sale, 1989

Lot: 1710 - Johnson, Original Watercolor - Blue and Yellow Macaw

This scarce and splendid gouache watercolor illustration is from Theophilus Johnson's Illustrations of Typical Birds. Each gouache watercolor illustration is heightened with gum arabic and mounted to a larger board. The work was published by Dartford Heath in 1900. This is a first series and one of the few works Johnson printed in folio. There appears to be very few of this work that has ever come to market. "Theophilus Johnson (1836-1919) was an amateur naturalist and artist, who produced a considerable number of natural history books during the latter half of the nineteenth and early twentieth centuries. These are remarkable in being entirely illustrated with original watercolours and drawings by Johnson himself, as well as having text either printed or written in excellent longhand by him. I t is not known how many such books he completed. The Natural History Museum, London, holds 29 (all but five relating to entomology) and the Zoological Society holds four more." (Howard Radclyffe) Provenance: Sotheby's 1993; Bradley Martin Sotheby's New York sale, 1989

Lot: 1711 - Gould - Sharp-billed Toucan [Ramphastos Carinatus]

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

Lot: 1712 - Redoute, Choix, Rare Folio - Blanket Flower [Gailliarda]

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: 1713 - Redoute, Choix, Rare Folio - Lilac [Lilas]

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: 1714 - Redoute, Choix, Rare Folio - Anemone [Anemone simplex]

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: 1715 - Redoute, Choix, Rare Folio - Dahlia [Dalea double]

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: 1716 - Brookshaw, Folio - Pair of Peach Engravings

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

Lot: 1717 - Brookshaw, Folio - Pair of Grape Engravings

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

Lot: 1718 - Thornton, Folio - The American Cowslip

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: 1719 - Thornton, Folio - The Blue Passion Flower

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: 1720 - Warner & Williams's Orchidaceous Plants - Volume with 40 Folio Orchid Lithographs

This beautiful volume with 40 folio orchid lithographs is Robert Warner's Select orchidaceous plants. The notes on culture by Benjamin S. Williams [...] This is the first series of the work which was published between 1862 and 1865 in London by John Edward Taylor for Lovell Reeve & Co. This work is illustrated with 40 originally hand-colored lithographs on the orchid species. It is bound in contemporary quarter green shagreen, marbled paper boards, spine with raised bands. The lithographs were completed by the botanical illustrators Walter Hood Fitch and James Andrews. It was produced during the Orchidelirium craze of the Victorian era. The work helped accurately depict the orchids as well as describe their nomenclature and care. "Orchid hunting" was a treacherous sport and the volumes will often credit those who secured the specimens, often from difficult terrains in Central America, South America, and Asia.

Lot: 1721 - Seba - 4 Engravings of Snakes & Plants

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

Lot: 1722 - Seba - Pair of Lizard 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: 1723 - Catesby, Folio - Anona (Pawpaw). 2-85

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: 1724 - Catesby, Folio - Baltimore Bird (Baltimore Oriole) with Tulip Tree. 1-48

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: 1725 - Catesby, Folio - White Curlew. 1-82

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

Lot: 1726 - Catesby, Folio - Larger Red crested Woodpecker with Live Oak. 1-17

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.