Antique Prints, Maps, & Books of Natural

Lot: 1801 - Hamilton - 5 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: 1802 - Piranesi - 4 Engravings of Roman Architecutre & Antiquities

This outstanding folio etching is from Giovanni Battista Piranesi's Le Antichita Romane. The work was published in Rome by Stamperia Salomoni circa 1780. The work depicted archaeological sites, sepulchral monuments, reconstructions of engineering feats, ancient bridges, baths and other structures. Piranesi's etchings exhibit remarkable technical skill, historic accuracy, and artistic vision. Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness." "No other author before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127). Le Antichita Romane cemented Piranesi's reputation as "the foremost artistic proponent of Roman architecture" (Robison, Piranesi, 1986, p.11 Provenance: Marcel Bernard, architect in Montpellier

Lot: 1803 - Piranesi - 4 Engravings of Roman Architecutre & Antiquities

This outstanding folio etching is from Giovanni Battista Piranesi's Le Antichita Romane. The work was published in Rome by Stamperia Salomoni circa 1780. The work depicted archaeological sites, sepulchral monuments, reconstructions of engineering feats, ancient bridges, baths and other structures. Piranesi's etchings exhibit remarkable technical skill, historic accuracy, and artistic vision. Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness." "No other author before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127). Le Antichita Romane cemented Piranesi's reputation as "the foremost artistic proponent of Roman architecture" (Robison, Piranesi, 1986, p.11 Provenance: Marcel Bernard, architect in Montpellier

Lot: 1804 - Piranesi, Folio - View of the Villa of His Eminence Cardinal Alessandro Albani outside Porta Salaria [Veduta della Villa dell'Emo Sign. Card Alsandro Albani fuori di Porta Salaria]

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: 1805 - Piranesi, Folio - Colosseum – Interior view of the Colosseum [Veduta interna del Colosseo]

This extraordinary large folio etching is from Giovanni Battista Piranesi's "Vedute di Roma". This from a mixed edition of the work published in Rome & Paris likely published c1778 to early 1800s. The etchings are on laid paper some with watermark. Piranesi noted, "When I saw in Rome how most of the remains of ancient buildings lay scattered through gardens and ploughed fields where they dwindled day by day … I resolved to preserve them by means of engravings. I have therefore drawn these ruins with all possible exquisiteness." Giovanni Battista Piranesi (1720-1778) is known as one of the most famous architectural artists of all times. Born in Venice and later settled in Rome, the young Piranesi first aspired to be an architect. After having little luck in his studied field, he turned instead to the art of architecture. His work masterfully used light and space to create depth and detail in his exceptional work. "No other author [artist] before or since was capable of visions of grandeur that could so excite and inspire the enthusiast." (Scott, Piranesi, 1975, p.127) This is one of the two engravings done by Francesco Piranesi, Giovanni's son, for Vedute di Roma

Lot: 1806 - Hancarville & David’s Antiquites Etrusques, Grecques, et Romains – 5 Volumes with 361 Engravings

This fascinating collection is Pierre Francois Hughues d'Hancarville & François-Anne David’s Antiquites Etrusques, Grecques, et Romains . This is the second edition of the work published in Paris y L'Auteur & David between 1785 and 1787. This is the reduced (in size of printing) edition of Antiquités... Tirées du Cabinet de M. Hamilton first published in 1766. (Blackmer) This collection includes five volumes, each with 72 plates of vases with their art on separate plates. There are two caveats however, Volume 1 includes a plate with two engravings, and volume 5 includes 30 engravings of statues. Each volume begins with the engravings done by François-Anne David (many with original hand-coloring), and follows with descriptions of the plates by d’Hancarville. The plates in this book come from vases collected in the, at the time, relatively recently discovered Pompeii, and would have served to educate contemporaries on primary sources of Etruscan, Greek, and Roman art. The engravings illustrate Sir William Hamilton's collection of ancient vases. The work is of particular importance in the development of neo-classical designs for pottery and porcelain, including Wedgwood. The copperplate engravings were done by F. A. David and on chain-lined paper. The illustrations shoed antique vases, urns, and mythological scenes. Francois-Anne David (1741-1824) was French engraver. He was the student of Jacques-Phillipe la Bas, the head of the largest engraving workshop in Paris. His other works include portraits of famous figures of his time, such as Catherine II of Russia and Denis Diderot. Pierre-Francois Hugues d’Hancarville (1719-1805) was an historian of art who worked in both France and Italy. He spent his life traveling throughout Europe and in the 1750s, came into contact with William Hamilton, the English ambassador to Naples. Together, they produced various works on ancient European art, particularly ancient vases, many of which were sourced from Pompeii.

Lot: 1807 - Travel Album with 54 Original Gouache Watercolors of Italy

This stunning travel album depicts landscapes of Italy in richly rendered gouache watercolor. It appears to be from a French artist done in the late 1700s to mid-1800s. The travel album is bound in leather with embossed front board, 6 bands to spine, all page edges gold gilt. There are 48 watercolors to a full page and 6 watercolors paired to a page for 54 images in total. Each watercolor is finished with gum arabic.

Lot: 1808 - Gould, Australia - Purple Swamphen [Porphyrio Bellus]

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: 1809 - Gould, Australia - Little Black Cormorant [Phalacrocorax Salcirostris]

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: 1810 - Gould, Australia - Minute Bittern [Ardetta Pusilla]

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: 1811 - Gould, Australia - Autralasian Bittern [Botarus Australis]

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: 1812 - Rothschild & Keulemans, Hawaii - 4 Hawaiian Bird Lithographs

Included in this lot: Hawaiian Rail & Crake (Extinct) & [Pennula Sandwichensis & Pennula Millsi] Kauai or Oahu Nukupuu or Honeycreeper (Endangered) [Heterorhynchus Hanapepe] O'ahu Nukupu'u or Honeycreeper (Extinct) [Heterorhynchus Lucidus] O'ahu 'Alauahio or Oahu Creeper (Endangered) [Oreomyza Maculata] 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: 1813 - Bien, Hawaii - Raccoon Butterfly Fish or Kikakapu [Chaetodon Lunula]

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

Lot: 1814 - Bien, Hawaii - Twospined Angelfish [Holacanthus Bispinosus]

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

Lot: 1815 - Bien, Hawaii - Moorish Idol or Kihikihi [Zanclus Canescens]

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

Lot: 1816 - Bien, Hawaii - Achilles Tang [Teuthis Achilles]

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

Lot: 1817 - Ellis, Hawaii - Pair of Engravings of Kairua

Included in this lot: A Missionary Preaching to the Natives, under a Skreen of platted Cocoa-nut leaves at Kairua Ruins of an ancient Fortification, near Kairua Description of the work: 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: 1818 - Ekelof - View from the Road between Papitii & Matawal (Tahiti) [Utsigt Fran Vagen Emellan Papitii Och Matawai (Tahiti)]

This lithograph is from Adolf Ekelof’s Ett ar I Stilla hafvet. Remanned Fran Patagonian, Chili, Peru, Californian, British Columbia och Oceanien. or A Year in the Pacific, Travel Memories from Patagonia, Chile, Peru, California, British Columbia, and Oceania. It was published in Stockholm in 1872 by the Stockholm Lithographic Art Institution and printed by K. L. Beckman in the same year. Adolf Ekelof (1839-1903) was a Swedish naval officer and painter who produced several paintings in oil and watercolor based upon his travels in the Pacific Ocean.

Lot: 1819 - Ekelof, Hawaii - View of Waikiki, Honolulu (Sandwich Islands) [Wai-ki-ki, (Honolulu)]

This lithograph is from Adolf Ekelof’s Ett ar I Stilla hafvet. Remanned Fran Patagonian, Chili, Peru, Californian, British Columbia och Oceanien. or A Year in the Pacific, Travel Memories from Patagonia, Chile, Peru, California, British Columbia, and Oceania. It was published in Stockholm in 1872 by the Stockholm Lithographic Art Institution and printed by K. L. Beckman in the same year. Adolf Ekelof (1839-1903) was a Swedish naval officer and painter who produced several paintings in oil and watercolor based upon his travels in the Pacific Ocean.

Lot: 1820 - Ekelof, Hawaii - Kings Kamehameha IV & V of Hawaii (Sandwich Islands)

This lithograph is from Adolf Ekelof’s Ett ar I Stilla hafvet. Remanned Fran Patagonian, Chili, Peru, Californian, British Columbia och Oceanien. or A Year in the Pacific, Travel Memories from Patagonia, Chile, Peru, California, British Columbia, and Oceania. It was published in Stockholm in 1872 by the Stockholm Lithographic Art Institution and printed by K. L. Beckman in the same year. Adolf Ekelof (1839-1903) was a Swedish naval officer and painter who produced several paintings in oil and watercolor based upon his travels in the Pacific Ocean.

Lot: 1821 - Newton & Bien - Map of Kauai, Hawaii (Sandwch Islands)

This colorful lithographed map of Kauai was done by Herbert E. Newton and entitled Kauai, Territory of Hawaii... traced from Gov't Survey Reg. Map No. 1395. It was published and lithographed by Julius Bien & Co. in 1901. The map was produced as part of U.S. Congress Serial set vol. 4293. The map showed the land that were now public domain divided into two classes, the crown lands and the government lands. Crown lands had been reserved for Kamehameha III's private use in the great division of 1848 (shown in yellow). The government lands were the lands that revenue from was allocated to the maintenance of the government (shown in green). The boundaries in the map were the same as designated by the division in 1848.

Lot: 1822 - Bayer - Pair of Constellation or Star Charts of Cassiopeia & Andromeda

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: 1823 - Thomas - Constellation or Celestial Chart of Cancer (Crab)

This celestial engraving is from Corbinian Thomas's Mercurii philosophici firmamentum Firmianum descriptionem et usum globi artificialis coelestis. The work was published in Augsburg in 1731 by Merz und Mayr. Linda Hall Library described the work as, "one of the unsung treasures of celestial cartography." The plates in the work depicted celestial globes, wind rose, lunar map (after Hevelius), map of Salzburg, and constellation maps with zodiac signs. He used a nomenclature system developed on Coronelli's globes that included a Bayer Greek letter, Roman numeral for magnitude, and Arabic numeral for reference to a star catalog. The plates were engraved by A. C. Fleischmann, J. C. Bernd, and J. Hering. Corbinianus Thomas (1694-1767) was a Benedictine monk, astronomer, mathematician, professor, and librarian. Thomas was one of the first celestial cartographers to place Camelopardalis to its own plate and the first to place some of the southern constellations to their own plates as well, including Indus and Pavo. He invented a constellation of his own, Corona Firmiana, to honor his patron, the archbishop of Salzburg.

Lot: 1824 - Thomas - Constellation or Celestial Chart of Scorpio (Scorpion)

This celestial engraving is from Corbinian Thomas's Mercurii philosophici firmamentum Firmianum descriptionem et usum globi artificialis coelestis. The work was published in Augsburg in 1731 by Merz und Mayr. Linda Hall Library described the work as, "one of the unsung treasures of celestial cartography." The plates in the work depicted celestial globes, wind rose, lunar map (after Hevelius), map of Salzburg, and constellation maps with zodiac signs. He used a nomenclature system developed on Coronelli's globes that included a Bayer Greek letter, Roman numeral for magnitude, and Arabic numeral for reference to a star catalog. The plates were engraved by A. C. Fleischmann, J. C. Bernd, and J. Hering. Corbinianus Thomas (1694-1767) was a Benedictine monk, astronomer, mathematician, professor, and librarian. Thomas was one of the first celestial cartographers to place Camelopardalis to its own plate and the first to place some of the southern constellations to their own plates as well, including Indus and Pavo. He invented a constellation of his own, Corona Firmiana, to honor his patron, the archbishop of Salzburg.

Lot: 1825 - Thomas - Zodiac or Celestial Chart

This celestial engraving is from Corbinian Thomas's Mercurii philosophici firmamentum Firmianum descriptionem et usum globi artificialis coelestis. The work was published in Augsburg in 1731 by Merz und Mayr. Linda Hall Library described the work as, "one of the unsung treasures of celestial cartography." The plates in the work depicted celestial globes, wind rose, lunar map (after Hevelius), map of Salzburg, and constellation maps with zodiac signs. He used a nomenclature system developed on Coronelli's globes that included a Bayer Greek letter, Roman numeral for magnitude, and Arabic numeral for reference to a star catalog. The plates were engraved by A. C. Fleischmann, J. C. Bernd, and J. Hering. Corbinianus Thomas (1694-1767) was a Benedictine monk, astronomer, mathematician, professor, and librarian. Thomas was one of the first celestial cartographers to place Camelopardalis to its own plate and the first to place some of the southern constellations to their own plates as well, including Indus and Pavo. He invented a constellation of his own, Corona Firmiana, to honor his patron, the archbishop of Salzburg.

Lot: 1826 - Thomas - Surface of the Sun

This celestial engraving is from Corbinian Thomas's Mercurii philosophici firmamentum Firmianum descriptionem et usum globi artificialis coelestis. The work was published in Augsburg in 1731 by Merz und Mayr. Linda Hall Library described the work as, "one of the unsung treasures of celestial cartography." The plates in the work depicted celestial globes, wind rose, lunar map (after Hevelius), map of Salzburg, and constellation maps with zodiac signs. He used a nomenclature system developed on Coronelli's globes that included a Bayer Greek letter, Roman numeral for magnitude, and Arabic numeral for reference to a star catalog. The plates were engraved by A. C. Fleischmann, J. C. Bernd, and J. Hering. Corbinianus Thomas (1694-1767) was a Benedictine monk, astronomer, mathematician, professor, and librarian. Thomas was one of the first celestial cartographers to place Camelopardalis to its own plate and the first to place some of the southern constellations to their own plates as well, including Indus and Pavo. He invented a constellation of his own, Corona Firmiana, to honor his patron, the archbishop of Salzburg.

Lot: 1827 - De Fer & De La Hire - Celestial Chart (Planisphere Celeste Septentrional)

This stunning celestial chart is by Gabriel Phillipe de la Hire and entitled Planisphere Celeste Meridional Par Monsr. De La Hire. It was published by Nicholas de Fer in Paris in 1705. Gabriel Phillipe de la Hire designed two beautiful constellation maps of the Northern and Southern Hemisphere. La Hire took inspiration with the imagery of his charts from the work of Johann Bayer's Uranometria. His primary source for the text and details was from Sir Edmund Halley. (Warner) The map was engraved by Hendrick van Loon. Nicholas 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. Gabriel Phillipe de la Hire (1677-1719) was a celebrated French astronomer. He studied art in Italy, but he pursued a career in science and mathematics publishing treatises on conics. He served as a member of the Royal Academy of Science. He was the son of the Parisian art professor, Philippe de la Hire.

Lot: 1828 - Kircher, pub. 1682 - Map of South Africa with Madagascar

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: 1829 - Kircher, pub. 1682 - Map of India

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: 1830 - Kircher, pub. 1682 - Mount Etna, Volcano Erupting

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

Lot: 1831 - Kircher, pub. 1682 - Surface of the Moon

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: 1832 - Kircher, pub. 1682 - Diagram of the Earth and the Volcanic Spots and Molten Core

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: 1833 - De Fer - Map of Flanders, Netherlands

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: 1834 - De Fer - Map of the Dutch Republic (Netherlands, Belgium)

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: 1835 - De L'Isle - Map of Hungary and Environs

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: 1836 - De L'Isle - Map of North Asia (Grand Tartary)

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: 1837 - De L'Isle - Map of Eastern Asia with India, China, Japan, & East Indies

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: 1838 - De L'Isle - Map of the Southern Hemisphere with part of New Holland (Australia), Africa, South America

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: 1839 - De L'Isle - City Plan of Paris (France)

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: 1840 - Visscher - Map of Scotland

This exceptional map with beautiful original hand-coloring is from the Visscher family's "Atlas minor sive totius orbis terrarum contracta delineat ex conatibus." The map available is from a composite atlas "Atlas minor" published by Nicolaes (Nicholas) Visscher in Amsterdam between 1649 to the early 1700s. Visscher's "Atlas Minor" has often been referred to as "the most spectacularly illuminated atlas known." The hand-coloring on the maps is wonderfully executed. The Visscher family created a leading map publication house in Amsterdam in the 17th & 18th centuries. Nicolaes Visscher I founded the publishing firm and quickly his and his family's maps became noted for his quality engravings, ornamental details, and accuracy of cartography. Claes Jansz. Visscher or N.J. Piscator (1587-1652) established the publishing house on Kalverstraat in Amsterdam, originally 'de gulden Bors', and renamed it "In de Visscher". His work on Dutch landscapes and historic scenes brought him to prominence. He originally purchased the copperplates of Pieter van den Keere's " Germania Inferior" to publish his first atlas. Nicolaes (Nicholas) Visscher I (1618-1679) was a Dutch engraver, cartographer, and publisher. He came from a prominent family of cartographers including his father, Claes Janszoon Visscher, and son, Nicholas II. Visscher maps are known for their exceptional detailed engraving work. In 1664, Nichoaes I became a member of the Bookseller's Guild. He obtained rights to protect his maps from reproduction from Holland and West Friesland in 1677 for 15 years. Nicolaas Visscher II (1649-1702) took over the publishing business for his family after his father's death where he moved the shop to the Dam.. He obtained rights to continue to protect their maps from reproduction from Holland and West Friesland in 1682. It allowed the family's firm to continue producing the highest quality maps, atlases, and globes. It cemented the Visscher legacy. His son, Nicolaes III, and widow, Elizabeth Verseyl, continued the business after his death until hers in 1726.

Lot: 1841 - Visscher - Map of England

This exceptional map with beautiful original hand-coloring is from the Visscher family's "Atlas minor sive totius orbis terrarum contracta delineat ex conatibus." The map available is from a composite atlas "Atlas minor" published by Nicolaes (Nicholas) Visscher in Amsterdam between 1649 to the early 1700s. Visscher's "Atlas Minor" has often been referred to as "the most spectacularly illuminated atlas known." The hand-coloring on the maps is wonderfully executed. The Visscher family created a leading map publication house in Amsterdam in the 17th & 18th centuries. Nicolaes Visscher I founded the publishing firm and quickly his and his family's maps became noted for his quality engravings, ornamental details, and accuracy of cartography. Claes Jansz. Visscher or N.J. Piscator (1587-1652) established the publishing house on Kalverstraat in Amsterdam, originally 'de gulden Bors', and renamed it "In de Visscher". His work on Dutch landscapes and historic scenes brought him to prominence. He originally purchased the copperplates of Pieter van den Keere's " Germania Inferior" to publish his first atlas. Nicolaes (Nicholas) Visscher I (1618-1679) was a Dutch engraver, cartographer, and publisher. He came from a prominent family of cartographers including his father, Claes Janszoon Visscher, and son, Nicholas II. Visscher maps are known for their exceptional detailed engraving work. In 1664, Nichoaes I became a member of the Bookseller's Guild. He obtained rights to protect his maps from reproduction from Holland and West Friesland in 1677 for 15 years. Nicolaas Visscher II (1649-1702) took over the publishing business for his family after his father's death where he moved the shop to the Dam.. He obtained rights to continue to protect their maps from reproduction from Holland and West Friesland in 1682. It allowed the family's firm to continue producing the highest quality maps, atlases, and globes. It cemented the Visscher legacy. His son, Nicolaes III, and widow, Elizabeth Verseyl, continued the business after his death until hers in 1726.

Lot: 1842 - Braun & Hogenberg, pub. 1575 - View of Cambridge, England

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: 1843 - Braun & Hogenberg, pub. 1575 - View of Alexandria, Egypt

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: 1844 - Van der Aa - 4 Engravings of South America

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: 1845 - Van der Aa - 7 Engravings of Central America, West Indies, Mexico

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: 1846 - Van der Aa - 8 Engravings of India, Asia, Middle East

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: 1847 - Chatelain - Map of the 17 Provinces of the Netherlands

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: 1848 - Chatelain - 3 Engravings of Africa

Included in this lot: Cape of Good Hope with Map, Native People, Natural History / Animals Map of Africa Map of South Africa with Madagascar 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: 1849 - Chatelain - Pair of Engravings of South America

Included in this lot: Map of Northern South America Map of Peru with Plan of Lima, and Vignettes 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: 1850 - Chatelain - Map of the World with New Holland (Australia) & New Zealand in Outline

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: 1851 - Chatelain - Map of the Great Lakes with Canada, Mississippi River, 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: 1852 - Schedel, pub. 1493 - Creation of Eve from Adam's Rib

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle (in German: Das Buch der Croniken und Geschichten. This is from the first German edition published 6 months after the first Latin edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities. Provenance: early manuscript notes on map and marginalia (see below); early ownership inscription on title dated 1600, (reading in part: "Dis Buch hatt mir der Edel und Vest Ernst von und zu Asch[...] geschenckt", signed by Johann Schüstle [?], apparently "Pfarrer zu Landshut" [?], with the date 1493 added beneath)

Lot: 1853 - Schedel, pub. 1493 - Adam & Eve with Cain & Abel (illustrated by Michael Wolgemut) / Verso: Religious & Historic Figures

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle (in German: Das Buch der Croniken und Geschichten. This is from the first German edition published 6 months after the first Latin edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities. Provenance: early manuscript notes on map and marginalia (see below); early ownership inscription on title dated 1600, (reading in part: "Dis Buch hatt mir der Edel und Vest Ernst von und zu Asch[...] geschenckt", signed by Johann Schüstle [?], apparently "Pfarrer zu Landshut" [?], with the date 1493 added beneath)

Lot: 1854 - Schedel, pub. 1493 - Moses & the Burning Bush, Religious & Historic Figures

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle (in German: Das Buch der Croniken und Geschichten. This is from the first German edition published 6 months after the first Latin edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities. Provenance: early manuscript notes on map and marginalia (see below); early ownership inscription on title dated 1600, (reading in part: "Dis Buch hatt mir der Edel und Vest Ernst von und zu Asch[...] geschenckt", signed by Johann Schüstle [?], apparently "Pfarrer zu Landshut" [?], with the date 1493 added beneath)

Lot: 1855 - Schedel, pub. 1493 - View of Venice, Italy / Verso: View of Padua, Italy and Religious & Historic Figures

This important and historic engraving is from Hartmann Schedel Liber Chronicarum, more commonly known as the Nuremberg Chronicle (in German: Das Buch der Croniken und Geschichten. This is from the first German edition published 6 months after the first Latin edition. Both editions were limited to 2000 printings. It was published in Nuremberg in 1493 by Anton Koberger for Sebald Schreyer and Sebastian Kammermeister. The work included numerous illustrations that were completed by Michael Wolgemut, Wilhelm Pleydenwurff, and members of their workshop. This very likely included the young Albrecht Dürer as well. The work included maps and town views, but also chronicles historic information including the invention of the printing press, development of the game of chess, navigational voyages, and important constructions. Hartmann Schedel (1440-1514) was a German writer, physician, and book collector. He is most remembered for his famous work Liber Chronicarum or Nuremberg Chronicle. He published some of the first printed views of many cities. Provenance: early manuscript notes on map and marginalia (see below); early ownership inscription on title dated 1600, (reading in part: "Dis Buch hatt mir der Edel und Vest Ernst von und zu Asch[...] geschenckt", signed by Johann Schüstle [?], apparently "Pfarrer zu Landshut" [?], with the date 1493 added beneath)

Lot: 1856 - Bertius's Ptolemy, pub. 1618 - Map of Northern Africa

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

Lot: 1857 - Bertius's Ptolemy, pub. 1618 - Map of Sicily

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

Lot: 1858 - Bertius's Ptolemy, pub. 1618 - Map of the British Isles (England, Ireland, Scotland)

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

Lot: 1859 - Bertius's Ptolemy, pub. 1618 - Diagram of the Earth with Windheads

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

Lot: 1860 - Bertius's Ptolemy, pub. 1618 - Map of the Ancient World

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

Lot: 1861 - Munster, pub. 1574 - Map of Transylvania, Romania

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 1574 by Heinrich 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) 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: 1862 - Munster, pub. 1574 - Map of Italy

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 1574 by Heinrich 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) 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: 1863 - Munster, pub. 1574 - View of Constantinople (Istanbul), Turkey

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 1574 by Heinrich 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) 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: 1864 - Munster, pub. 1574 - Map of Asia (India, Russia, Japan, China, East Indies)

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 1574 by Heinrich 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) 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: 1865 - Munster, pub. 1574 - Map of the North Sea with Greenland, America, Scandinavia, British Isles

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 1574 by Heinrich 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) 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: 1866 - Munster, pub. 1574 - Map of the Americas

About the map: This map "sealed the fate of 'America' as the name of the New World." (Burden 12) It was also the first to show American in the 'correct' continental form. This map was also the first to name the Pacific Ocean titled 'Mare Pacificum.' The map was first published in 1540 as part of Munster's edition of Ptolemy's Geography then published for the first time as part of Munster's Cosmographia Universalis in 1544 with this produced from the same woodcut. Burden notes: "The Portuguese flag is shown flying over the South Atlantic and the Spanish one over her possessions in the Caribbean. The Strait of Magellan is named again, and Mare pacificum appears for the first time on a printed map. Magellan's ship Victoria, the only survivor of five vessels, appears for the first time on a printed map. Marco Polo's influence can be seen with Zipangri (Japan) appearing three years before the earliest known contact with Europeans, and also his Archipelagus 7448 insularu. The Yucatan is still shown as an island and the lake at Temistitan is depicted emptying into the Gulf of Mexico. North America is not shown as accurately as the southern half of the continent, it had to a large extent been neglected so far by explorers. When Giovanni de Verrazzano, in the service of Francis I of France, passed by the Outer Banks of the Carolinas in 1524 he mistook Pamlico and Albemarle Sounds for the 'Oriental Sea' that led to Cathay and the rich Spice Islands. Here Munster perpetuates this error and through the success of this book provided a huge impetus to the exploration of the region. The only placenames appearing here are C. Britonum, marking England's early explorations, Corterati, probably Newfoundland after the Corte Reals, and Terra florida. Francisca is named in honor of Francis I." About the work: This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 1574 by Heinrich 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) 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: 1867 - Cronau - 3 Views of Oregon & Salt Lake City, Utah

This fascinating collotype is from Rudolf Cronau's Von Wunderland zu Wunderland, Landschafts und Lebensbilder aus den Staaten und Territorien der Union. The work was published in Leipzig by T. O. Weigel between 1886 and 1887. It has a Washington copyright in 1885 by Dr. O. V. Deuster. The work is a rare set of German prints of the United States, from New York to San Francisco. It also features the first portrait done of Sitting Bull. The work had a particular focus on the American West and was celebrated for its accuracy. Europeans were fascinated with the frontier and different landscapes, populations, and customs. Cronau hand sketched each scene with pen & ink which were then converted to these skilled collotypes.

Lot: 1868 - Cronau - 3 Views of Missouri & the Mississippi River

This fascinating collotype is from Rudolf Cronau's Von Wunderland zu Wunderland, Landschafts und Lebensbilder aus den Staaten und Territorien der Union. The work was published in Leipzig by T. O. Weigel between 1886 and 1887. It has a Washington copyright in 1885 by Dr. O. V. Deuster. The work is a rare set of German prints of the United States, from New York to San Francisco. It also features the first portrait done of Sitting Bull. The work had a particular focus on the American West and was celebrated for its accuracy. Europeans were fascinated with the frontier and different landscapes, populations, and customs. Cronau hand sketched each scene with pen & ink which were then converted to these skilled collotypes.

Lot: 1869 - Cronau - 5 Views of Yellowstone & Yosemite

This fascinating collotype is from Rudolf Cronau's Von Wunderland zu Wunderland, Landschafts und Lebensbilder aus den Staaten und Territorien der Union. The work was published in Leipzig by T. O. Weigel between 1886 and 1887. It has a Washington copyright in 1885 by Dr. O. V. Deuster. The work is a rare set of German prints of the United States, from New York to San Francisco. It also features the first portrait done of Sitting Bull. The work had a particular focus on the American West and was celebrated for its accuracy. Europeans were fascinated with the frontier and different landscapes, populations, and customs. Cronau hand sketched each scene with pen & ink which were then converted to these skilled collotypes.

Lot: 1870 - Edward Curtis - Pair of Native American Photogravures (Arikara)

Included in this lot: The Bear-medicine - Arikara Singing to the Cedar - Arikara Description of the work: This moving photogravure in quarto size is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 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: 1871 - Edward Curtis - 3 Native American Photogravures (Navaho)

Included in this lot: Yebichai Sweat- Navaho Navaho Still Life Navaho Hogan Description of the work: This moving photogravure in quarto size is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. This photogravure is from the first volume of the work and was published in 1907 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 Navaho, Apache, and Jicarilla 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: 1872 - Edward Curtis, Folio - Pair of Native American Photogravures

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

Lot: 1873 - Edward Curtis, Folio - Pair of Native American Photogravures

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

Lot: 1874 - Catlin, Folio, On Card - The War Dance

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

Lot: 1875 - McCreery by Bega - 4 Tavern Scene Etchings

Included in this lot: Tavern Scene - Sitting Man with His Hat in His Right Hand Tavern Scene - Man with his hand in his coat Tavern Scene - Standing woman with jug in hand and basket on her head Tavern Scene - A Woman seated holding a large jug Description of the work: This important etching was published as part of John McCreery's A Collection of Original Etchings. It was published in London by McCreery in 1816. Each etching was pasted to backing paper. The original copper plates were believed to be destroyed after this publication. Most of the etchings are printed from the original plates of the artist. It features original plate etchings from the artists: Corenlius Bega (1654), Claude Lorraine (1660), Dominique Barriere (and Lorraine) (1651), Horizonti, Hollar (1641-1647), Theodore Van Kessel (1654), Peter de Laer (1636), Rembrandt, some after Rembrandt by Vivares, Van Vliet (1632), Thomas Wyck (1670), and Ruysdael (1668). The work also featured etchings after the artwork of Rembrant, Ruysdael, Du Jardin, Della Bella, and more.

Lot: 1876 - Chagall & Fontaine's Fables - Death and the Unfortunate Man [La Mort & le Malheureux]

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: 1877 - Chagall & Fontaine's Fables - The Heifer, the Goat, and the Ewe in Partnership with the Lion [La Genisse, la Chevre & la Brebis en societe avec le Lion]

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: 1878 - Chagall & Fontaine's Fables - The Wolf and the Lamb [Le Loup & l'Agneau]

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: 1879 - Chagall & Fontaine's Fables - The Man and His Image [L'Homme & son Image]

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: 1880 - Mucha, Folio - Floral Design or Motif. 28

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: 1881 - Mucha, Folio - Illustration of Woman on Bear Rug. 4

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: 1882 - Mucha, Folio - Illustration of Woman. 2

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: 1883 - Mucha, Folio - Illustration of Topless Woman for Nectar Liquer. 14

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: 1884 - Maitres Affiches by Mucha - Papier a cigarettes Job

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

Lot: 1885 - Miro, Signed, Rare - Illustration of the Childhood of Ubu

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

Lot: 1886 - Van Houtte - 5 Leafy 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: 1887 - Van Houtte - 7 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: 1888 - 6 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Betula Alnus after Ledel for Regnault Volkameria Inermis after Franz for Jacquin Hermannia Scabra after Herz for Jacquin Senecio Rosmarinifolius fter Ledel for Jacquin Staphylea trifolia after Ledel Solidago aspera for Dill. 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: 1889 - 6 Original Botanical Watercolors (according to Linnaeus system)

Included in this lot: Xeranthemum Fulgidum after Ledel for Jacquin Rhus Viminale after Herz for Jacquin Pelargonium balsameum for Jacquin Inula Ensifolia after Ledel for Jacquin Spartium Scoparium after Ledel for Curtis Peucedanum Sibiricum after Ledel for Kitaibel 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: 1890 - Seligmann after Edwards - 7 Natural History Engravings (Sea Life, Insects, Coral, Sharks, Spider)

Johann Seligmann created this wonderful folio work featuring the art of both George Edwards and Mark Catesby. Entitled Verzameling van Utlandsche en Zeldzaame Vogelen... or Sammlung verschiedener auslandischer und seltener Vogel. The rare work features beautiful engravings and original hand coloring. Seligmann re-engraved the plates of both Edwards and Catesby. The work was published by Jan Christiaan Sepp in Amsterdam between 1772 and 1781. Mark Catesby was a well-known naturalist born in England in 1682. He spent 10 years of his life in the American colonies observing the native species of plants and animals. After returning to England, he dedicated the next 20 years to producing the first English, all-inclusive study of American natural history, Natural History of Carolina, Florida, and Bahama Islands. Catesby was the first to incorporate plant life and birds on the same page. Because Catesby was too poor at the time to hire engravers, he studied under Joseph Goupy, learning to etch plates himself to save money and ensure accuracy. The result is this wonderfully detailed work featuring hundreds of American species, giving the Old World the opportunity to catch a glimpse of the World beyond. Catesby is referred to as 'The Father of American Ornithology' and his Natural History was the first to depict the flora and fauna of the new world. George Edwards was an English draughtsman and proficient ornithologist. He worked as the Librarian tothe Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 1891 - Seligmann after Edwards - 13 Quadruped or Mammal Engravings (Reindeer, Porcupine, Wolverine, Hare, Squirrel, Elephant, Rhinoceros, Sloth, Anteater)

Johann Seligmann created this wonderful folio work featuring the art of both George Edwards and Mark Catesby. Entitled Verzameling van Utlandsche en Zeldzaame Vogelen... or Sammlung verschiedener auslandischer und seltener Vogel. The rare work features beautiful engravings and original hand coloring. Seligmann re-engraved the plates of both Edwards and Catesby. The work was published by Jan Christiaan Sepp in Amsterdam between 1772 and 1781. Mark Catesby was a well-known naturalist born in England in 1682. He spent 10 years of his life in the American colonies observing the native species of plants and animals. After returning to England, he dedicated the next 20 years to producing the first English, all-inclusive study of American natural history, Natural History of Carolina, Florida, and Bahama Islands. Catesby was the first to incorporate plant life and birds on the same page. Because Catesby was too poor at the time to hire engravers, he studied under Joseph Goupy, learning to etch plates himself to save money and ensure accuracy. The result is this wonderfully detailed work featuring hundreds of American species, giving the Old World the opportunity to catch a glimpse of the World beyond. Catesby is referred to as 'The Father of American Ornithology' and his Natural History was the first to depict the flora and fauna of the new world. George Edwards was an English draughtsman and proficient ornithologist. He worked as the Librarian tothe Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 1892 - Seligmann after Edwards - 7 Primate Engravings (Monkey, Orangutan, Lemur, Marmoset)

Johann Seligmann created this wonderful folio work featuring the art of both George Edwards and Mark Catesby. Entitled Verzameling van Utlandsche en Zeldzaame Vogelen... or Sammlung verschiedener auslandischer und seltener Vogel. The rare work features beautiful engravings and original hand coloring. Seligmann re-engraved the plates of both Edwards and Catesby. The work was published by Jan Christiaan Sepp in Amsterdam between 1772 and 1781. Mark Catesby was a well-known naturalist born in England in 1682. He spent 10 years of his life in the American colonies observing the native species of plants and animals. After returning to England, he dedicated the next 20 years to producing the first English, all-inclusive study of American natural history, Natural History of Carolina, Florida, and Bahama Islands. Catesby was the first to incorporate plant life and birds on the same page. Because Catesby was too poor at the time to hire engravers, he studied under Joseph Goupy, learning to etch plates himself to save money and ensure accuracy. The result is this wonderfully detailed work featuring hundreds of American species, giving the Old World the opportunity to catch a glimpse of the World beyond. Catesby is referred to as 'The Father of American Ornithology' and his Natural History was the first to depict the flora and fauna of the new world. George Edwards was an English draughtsman and proficient ornithologist. He worked as the Librarian tothe Royal College of Physicians which eventually allowed him to pursue publishing his bird studies and drawings. Edward really drove the prominence of bird and animal illustration in his time and thus became known as 'The Father of British Ornithology.'

Lot: 1893 - Merian & Jonston - 5 Sea Life Engravings (Fish, Shark, Blowfish, Sea Monster)

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: 1894 - Merian & Jonston - 8 Bird Engravings (Dodo Bird, Toucan, Penguin, Turkey, Chicken, Bird of Paradise, Flamingo, Heron, Bittern)

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: 1895 - Wolf, Folio - Horsfield Kaleege (Gallophasis horsfieldii)

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

Lot: 1896 - Wolf, Folio - Japanese Pheasant (Phasianus versicolor)

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

Lot: 1897 - Wolf, Folio - Greenland Falcon (Falco groenlandicus)

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

Lot: 1898 - Martinet & Buffon - 6 Shore or Water Bird Engravings (Gannet, Tropic Bird, Frigate Pelican, Tern or Gull)

This originally hand-colored engraving is from Georges-Louis Leclerc de Buffon & Francois-Nicolas Martinet's work entitled "Histoire Naturelle des Oiseaux". It was published in Paris by Imprimerie Royale between 1770 and 1786. It was considered one of the most important and beautiful works on birds of the 18th century. Each plate from the work features a delicate yellow border, which many believe led to the development of French matting. They are engraved on fine chain-linked, watermarked paper. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible." The bird engravings are from François-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on "Histoire Naturelle des Oiseaux". Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 1899 - Martinet & Buffon - 6 Bird or Prey Engravings (Kestrel, Merlin, Sparrowhawk)

This originally hand-colored engraving is from Georges-Louis Leclerc de Buffon & Francois-Nicolas Martinet's work entitled "Histoire Naturelle des Oiseaux". It was published in Paris by Imprimerie Royale between 1770 and 1786. It was considered one of the most important and beautiful works on birds of the 18th century. Each plate from the work features a delicate yellow border, which many believe led to the development of French matting. They are engraved on fine chain-linked, watermarked paper. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible." The bird engravings are from François-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on "Histoire Naturelle des Oiseaux". Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 1900 - Martinet & Buffon - 6 Parrot Engravings

This originally hand-colored engraving is from Georges-Louis Leclerc de Buffon & Francois-Nicolas Martinet's work entitled "Histoire Naturelle des Oiseaux". It was published in Paris by Imprimerie Royale between 1770 and 1786. It was considered one of the most important and beautiful works on birds of the 18th century. Each plate from the work features a delicate yellow border, which many believe led to the development of French matting. They are engraved on fine chain-linked, watermarked paper. Buffon's work became one of the most informative sources as far as the visual appearance of animals, and was highly understandable for a wide audience. Buffon described his work and love for natural history by stating that, "Natural history embraces all the objects the universe presents to us. This prodigious multitude of quadrupeds, birds, fish, insects, plants, minerals, etc., offers to the curiosity of the human mind a vast spectacle, of which the whole is so great that the details are inexhaustible." The bird engravings are from François-Nicolas Martinet. Martinet (1731-1800) was a prominent ornithological artist of the 1700s. He work closely with Count Georges-Louis Leclerc du Buffon on "Histoire Naturelle des Oiseaux". Martinet also created work for Marmontel, Voltaire, and Philidor.

Lot: 1901 - Shelley & Keulemans - 4 Sunbird Lithographs

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

Lot: 1902 - Gould, Asia - Rosy Tantalus [Tantalus Leucocephalus]

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. 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. Provenance: Pen inscription to the front free endpaper that reads 'This book is one of the 41 volumes of John Gould's Illustrated Birds referred to in the Declaration made by me on 21st June 1983/ Geoffrey G.M. [?]Ecleston'. Believed to have been one of Gould's own copies of the work acquired through a Sotheby's auction in 1980.

Lot: 1903 - Gould, Asia - Siamese Fire-back Pheasant [Diardigallus Praelatus]

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. 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. Provenance: Pen inscription to the front free endpaper that reads 'This book is one of the 41 volumes of John Gould's Illustrated Birds referred to in the Declaration made by me on 21st June 1983/ Geoffrey G.M. [?]Ecleston'. Believed to have been one of Gould's own copies of the work acquired through a Sotheby's auction in 1980.

Lot: 1904 - Gould, Asia - Celebean or Sunda Black-winged Kite [Elanus Hypoleucus]

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. 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. Provenance: Pen inscription to the front free endpaper that reads 'This book is one of the 41 volumes of John Gould's Illustrated Birds referred to in the Declaration made by me on 21st June 1983/ Geoffrey G.M. [?]Ecleston'. Believed to have been one of Gould's own copies of the work acquired through a Sotheby's auction in 1980.

Lot: 1905 - Gould, Asia - Rufous-breasted Spilornis [Spilornis Rufipectus]

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. 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. Provenance: Pen inscription to the front free endpaper that reads 'This book is one of the 41 volumes of John Gould's Illustrated Birds referred to in the Declaration made by me on 21st June 1983/ Geoffrey G.M. [?]Ecleston'. Believed to have been one of Gould's own copies of the work acquired through a Sotheby's auction in 1980.

Lot: 1906 - Weinmann - 4 Engravings of Lily & Martagon 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: 1907 - Weinmann - 4 Engravings of Poppy & Peony

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: 1908 - Redoute, Choix, Rare Folio - 5 Botanical Engravings

Included in this lot: Anemone stellata Lychnis grandiflora Rose [Rosa Gallica Aurelianensis] Iris [Iris Xiphium] Raspberry [Rubus] Description of the work: 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: 1909 - Redoute, Choix, Rare Folio - Primula [Primula auricula]

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: 1910 - Redoute, Choix, Rare Folio - Hydrangea [Hortensia]

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: 1911 - Redoute, Choix, Rare Folio - Crown Imperial Lily [Fritillaire Imperiale]

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: 1912 - Redoute, Folio - Rose - Rosa damascena italica

This outstanding botanical engraving is from Pierre-Joseph Redoute's Album de Redoute. The work was published in Paris by Imprimerie de Remond. It was not dated, but was done circa 1824. Each plate for this work was stipple-engraved, printed in color, with each finished by hand after Redoute, by Langlois, Bessin, de Gouy, Couten, Tassaert, Allais, and Chaponnieu. Album was specially published to include a selection of engravings from his most celebrated works. It included engravings from Les Roses, Les Liliacees, and Jardin de la Malmaison. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. The work proved to be not only outstanding in terms of its beauty but also for its scientific merits. Many of the images were after Thory's personal collection as well as the rose garden of the Empress Josephine's garden at Malmaison. Redoute and Thory described almost all of the important roses that were known in their time. Lawalree describes the text as being 'of outstanding importance to both botanists and horticulturalists. Redoute's fame is due in large part to his diligent effort to perfect the use of stipple engraving. This labor intensive, and therefore expensive, technique creates subtle yet stunning variations of color making it superior to the engraving alone. Each plate was created using the 'a la poupee' process in which the color was applied before the printing. Hand-finished coloring was painstakingly applied after printing. Redoute was renowned for his artistic ability and tutored such people as Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Redoute influenced a breadth of artists that followed him including Turpin, Poiteau, Bessa, and Prevost. Redoute is widely considered the finest botanical illustrator of the early 19th century, if not throughout history. The process of stipple engraving and color printing give the Redoute Rose prints their luminous quality. Stippling is an etching process that employs dots instead of lines to form the image, which is then color printed by applying colored inks directly to the copper plate for each impression. The use of colored inks, greens and browns to print the stems and leaves, and reds and pinks to print the flowers, create a more luminous print by eliminating the necessity to paint watercolor over a back inked image.

Lot: 1913 - 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: 1914 - Thornton, Folio - The Maggot-bearing Stapelia (Carrion 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: 1915 - Thornton, Folio - The Oblique-leaved Begonia

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: 1916 - Seba - Cobra Snakes & Pants. 97

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: 1917 - Seba - Pair of Coral 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: 1918 - Catesby, Folio - Ground Squirrel (Eastern Chipmunk) with Mastick Tree. 2-75

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: 1919 - Catesby, Folio - Black Squirrel (Southern Fox Squirrel) with Yellow Lady’s Slipper. 2-73

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

Lot: 1920 - Catesby, Folio - Red Start with Black Walnut. 1-67

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: 1921 - Catesby, Folio - Blue Winged Teal. 1-99

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: 1922 - Catesby, Folio - Hooping Crane (Whooping Crane) with Bullet Bush. 1-75

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: 1923 - Catesby, Folio - Land Frog (Southern Toad) with Yellow Pitcher Plant (Carnivorous). 2-69

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: 1924 - Audubon, Imperial Folio - Hare Indian Dog. 132

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

Lot: 1925 - Audubon, Imperial Folio - American Cross Fox. 6

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