Antique Prints, Maps, & Books of Natural

Lot: 2201 - Flamsteed - Pair of Constellation or Celestial Charts of Sagittarius & Rabbit, Orion, Eridanus

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

Lot: 2202 - Flamsteed - Constellation or Celestial Chart of Scale, Scorpion

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

Lot: 2203 - Flamsteed - Constellation or Celestial Chart of Lion or Leo

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

Lot: 2204 - Fessenkov & Rozhovsky - 4 Gasous Dust Nebulae Photographs

Included in this lot: Gasous Dust Nebulae Photograph [Nebula NGC 6618 in the constellation Sagittarius] Gasous Dust Nebulae Photograph [Gas nebula MCD 12 in the constellation Cygnus] Gasous Dust Nebulae Photograph [Gas nebula NGC 2327 in the constellation Monoceros] Gasous Dust Nebulae Photograph [Nebula NGC 1499 in the constellation Perseus] Description of the work: This scarce original photograph is from an album entitled Atlas gazovo-pylevykh tumannostei [Atlas of Gaseous Dust Nebulae]. The collection was created by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. It was published in 1953 in Almaty, Astrophysical Institute, Academic of Sciences of the Kazakh, SSR (Kazakhstan, USSR). This is a truly impressive mounted photograph from 1953 with accompanying text page. The text and photos were compiled by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. The pair pioneered the studying of gaseous nebulae. Fessenkov & Rozhkovsky were leading Soviet astrophysicists. They began their study of gas-dust galactic nebulae in 1950 and created these photographs. They began the study in order to understand "evolution of structure of nebulae, turbulent phenomena in interstellar clouds and in the vicinity of hot stars." The high-quality photographs illustrated the fine structure of objects formed by the radiation of ionised gas and made it possible to reveal dust scattering the light of stars. Their work was important and the field and inspired further interest in nebulae study. Rozhkovsky discovered 30 new diffuse nebulae. Provenance: Hale Library of the Carnegie Institute (deaccessioned)

Lot: 2205 - La Hire & De Fer - Celestial Chart of the Northern Hemisphere (Planisphere Celeste Meridional Par Monsr. De La Hire)

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: 2206 - David Roberts - The Hypaethral Temple at Philae

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

Lot: 2207 - David Roberts - Interior of the Temple of Esne in Upper Egypt

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

Lot: 2208 - David Roberts - View from under the Portico of the Great Temple of Dendera

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

Lot: 2209 - David Roberts - Head of the Great Sphinx, Pyramids of Geezeh

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

Lot: 2210 - Bertius's Ptolemy, pub. 1618 - Map of Spain & Portugal

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: 2211 - Bertius's Ptolemy, pub. 1618 - Map of Europe

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: 2212 - Piranesi, Folio - View of the great square and Basilica of St. Peter’s [Veduta della gran Piazza e Basilica di S. Pietro]

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: 2213 - Piranesi, Folio - Villa Pamphili outside Porta San Pancrazio [Villa Panfili fuori di Porta S. Pancrazio]

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: 2214 - Rothschild & Keulemans, Hawaii - 5 Bird Lithographs

Included in this lot: Salvin's White-breasted Petrel [Oestrelata Hypoleuca] Gray-backed or Spectacled Tern [Haliplana Lunata] Brown & Black Noddy [Anous Stolidus & A. Melanogenys] Aleo or Hawaiian Stilt [Himantopus Knudseni] Miller-Bird [Acrocephalus Familiaris] 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: 2215 - Bien, Hawaii - Fish [Lepidaplois Bilunulatus]

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: 2216 - Bien, Hawaii - Blue Rudderfish [Sectator Azureus]

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: 2217 - Bien, Hawaii - Akiololo or Clown Wrasse [Julis Pulcherrima]

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: 2218 - Bien, Hawaii - Pair of Wrasse Prints

Included in this lot: Sunrise Wrasse [Verriculus Sanguineus] Blueline Wrasse [Stethojulis Albovittata] Description of the work: 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: 2219 - Arago, Hawaii - Ooro, one of the principal Chiefs of Ouriouriou, King of the Sandwich Islands

This historic lithograph is from Jacques Arago's Promenade autour du monde, pendant les années 1817, 1818, 1819 et 1820, sur les corvettes du roi l'Uranie et la Physicienne commandées par M. Freycinet or Narrative of a Voyage round the World, in the Uranie and Physicienne Corvettes commanded by Captain Freycinet, during the Years 1817, 1818, 1819, and 1820. The work was published in

Lot: 2220 - Arago, Hawaii - The Manner of strangling a culprit in the Sandwich Islands

This historic lithograph is from Jacques Arago's Promenade autour du monde, pendant les années 1817, 1818, 1819 et 1820, sur les corvettes du roi l'Uranie et la Physicienne commandées par M. Freycinet or Narrative of a Voyage round the World, in the Uranie and Physicienne Corvettes commanded by Captain Freycinet, during the Years 1817, 1818, 1819, and 1820. The work was published in

Lot: 2221 - Arago, Hawaii - A young Woman of the Sandwich Islands dansing (dancing)

This historic lithograph is from Jacques Arago's Promenade autour du monde, pendant les années 1817, 1818, 1819 et 1820, sur les corvettes du roi l'Uranie et la Physicienne commandées par M. Freycinet or Narrative of a Voyage round the World, in the Uranie and Physicienne Corvettes commanded by Captain Freycinet, during the Years 1817, 1818, 1819, and 1820. The work was published in

Lot: 2222 - Arago, Hawaii - Reflecting Place at Owhyhee (Sandwich Islands)

This historic lithograph is from Jacques Arago's Promenade autour du monde, pendant les années 1817, 1818, 1819 et 1820, sur les corvettes du roi l'Uranie et la Physicienne commandées par M. Freycinet or Narrative of a Voyage round the World, in the Uranie and Physicienne Corvettes commanded by Captain Freycinet, during the Years 1817, 1818, 1819, and 1820. The work was published in

Lot: 2223 - Photo Album of Hawaii with 24 Albumen Photographs by James J. Williams, c. 1890s

This fascinating album with 24 albumen photographs was from a collection of photos of Hawaii created by James J. Williams. Williams took the photographs circa 1890s. The album is bound in black 1/2 leatherette over cloth with storage box. It includes the hand-written list of the included photographs. The subjects for his photograph collection were Princess Ka'iulani, surfers, landscapes, cityscapes, agricultural scenes, Iolani Palace, Honolulu, Waikiki, flora and other natural landscape, commerce, and more. In particular his portrait of the last princess of Hawaii, Ka'iulani, is rare. James J. Williams (1853-1926) was an English-born photographer. He documented the Kingdom of Hawaii and its royal family. He operated a photography studio in Honolulu, and his work there remains significant.

Lot: 2224 - Edward Curtis - 3 Native American Photogravures

Included in this lot: Numak-mahana Packs Wolf as Numak-mahana - Mandan Atsina Crazy Dancers 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: 2225 - Edward Curtis - 4 Native American Photogravures

From 1926: Excavated Ruins at Gyusiwa Jemez Springs Depositing San Estevan in the Booth - Acoma Laguna Houses Description of the work: This moving photogravure in quarto size is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published in 1926 in Cambridge, Massachusetts. This was part of # 198 of a proposed edition of 500 (though about 272 sets are believed to be completed). The photogravures depict Native Americans from the Tiwa and Keres cultures. Curtis's work was a remarkable record of native American life and one of the most ambitious anthropological studies done. W. H. Holmes, Chief of the Bureau of American Ethnology in 1910, stated that this "publication should last for a thousand years." The North American Indian was referred to as “the most gigantic undertaking since the making of the King James Edition of the Bible” and containing “the most exquisite book art of our time.” Edward Sheriff Curtis (1868-1952) was an American photographer and ultimately historian of the American West. He travelled extensively for three decades living with the Native American tribes. He immersed himself in their customs, languages and beliefs. He detailed and photographed the tribes creating a truly comprehensive look into their lives. From 1909: Mandan Earthen Lodge 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: 2226 - Edward Curtis, Folio - Pair of Native American Photogravures

Included in this lot: Laguna Architecture Acoma Belfry 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: 2227 - Edward Curtis, Folio - An Isleta Man

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: 2228 - Catlin, Folio - Antelope Shooting

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: 2229 - Chagall & Fontaine's Fables - Pair of Etchings

Included in this lot: Death and the Woodcutter [La Mort & le Bucheron] The Oak and the Reed [Le Chene & le Roseau] Description of the work: 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: 2230 - Chagall & Fontaine's Fables - Pair of Etchings

Included in this lot: The Wolf Pleading Against the Fox Before the Monkey [Le Loup plaidant contre le Renard par-devant le Singe] The Rooster and the Pearl [Le Coq & la Perle] Description of the work: 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: 2231 - Seguy - Pair of Compositions with an Oriental Design

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

Lot: 2232 - Seguy - Pair of Compositions with an Oriental Design

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

Lot: 2233 - Maitres Affiches by Toulouse-Lautrec - La Revue Blanche

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: 2234 - Goya - Disparate volante [Flying Folly]

This rare, aquatint engraving is from Francisco Goya's Los Proverbios. Colección de diez y ocho láminas inventadas y grabadas al agua fuerte. It is from the second edition of the work published in Madrid in 1875 by Real Academia de Nobles Artes de San Fernando. The engravings were done by etching, aquatint, and drypoint and printed on vellum paper. This edition was often published with the lithographed title of the first edition, dated 1864, as is the photocopy we will include here. (Harris 248-265) The paper was the same as the first edition, but with some corrected errors to the plates. It was a very small printing for this edition and examples are "extremely rare." (Harris, II, p. 438) Goya created the series of Los Proverbios or Los disparates between 1815 and 1825. The series was never published while Goya was alive due to political oppression. The images depict political issues, Spanish proverbs and sayings, as well as Spanish carnival. Francisco José de Goya y Lucientes (1746-1828) was an influential Spanish painter. He served as the appointed painter of King Charles IV and Queen Maria-Luisa. His art was influenced by Rembrandt and Velasquez. Pablo Picasso and Salvador Dalí both named Goya as inspiration for their artistic styles.

Lot: 2235 - Munster, pub. 1592 - Map of Europe; Europa Regina; Queen Europe

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 1592 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: 2236 - Munster, pub. 1592 - View of Koblenz, Germany with the Rhine River

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 1592 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: 2237 - Munster, pub. 1592 - Map of Greece, Romania, Turkey, Greek Islands

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 1592 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: 2238 - Munster, pub. 1592 - Map of the Americas

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 1592 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: 2239 - Munster, pub. 1592 - Sea Monster and Animal Tableau (Famous Chart, Munster's Monsters); Monstra Marina et Terrestria

About the engraving: This is one of the most famous charts of mythical sea monsters. The monsters were derivative of Olaus Magnus's Carta Marina from 1539. It reflects the Renaissance attitude towards the unknown lands beyond civilization. The image is one of the most sought after curiosities of the 16th century. One vignette shows a galleon trying to outrun one monster by throwing their cargo overboard, while one sailor takes sight with a musket. It features beasts of land and sea. While many are the stuff of fantasy, many are based upon depictions from Scandinavian sailors and whalemen encounters. The monsters included are whales, giant lobsters, sea serpents (perhaps oarfish), and possibly an Orca and walrus. Description of 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 1592 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: 2240 - Morse - Map of the North East of North America with Great Lakes, Virginia, New England

This historic map is from Reverend Jebidiah Morse's The American Gazetteer, Exhibiting...the American Continent, also of the West-India Islands.... This is from the first edition of the work which was published in 1797 in Boston, Massachusetts by S. Hall, Thomas & Andrews, et al. Reverend Jebidiah Morse (1761-1826) was born to the Connecticut colony and published numerous maps. He was a geographer and produced numerous textbooks used for students in the newly established United States of America. These textbooks earned him the epithet, "Father of American geography." He was also the father of Samuel Morse, the telegraphy inventor and portrait painter.

Lot: 2241 - De L'Isle - Group of 3 Maps of the Rhine

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: 2242 - De L'Isle - Map of Africa (Nubia, Egypt & Abbysinia)

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: 2243 - De L'Isle - 5 Maps Creating Popple's Wall Map of America

Included in this lot: Map of the British Settlements in North America Map of Hudson's Bay & Cree Land (Kilistinons) (Canada, Great Lakes) Map of New Britain, Canada, New England, Pennsylvania, etc. Map of the Gulf of Mexico (Florida, Louisiana, Mexico, Carolinas, Texas) Map of the Caribbean & Northern South America (West Indies, Antilles Islands) Description of the work: This historic map with original outline color is from Guillaume de l'Isle (Delisle)'s atlas entitled New atlas containing all the parts of the world, where the Empires, Monarchies, Kingdoms, States, Republics &c. This is from the Dutch edition of the work which was published in Amsterdam circa 1744 by Jean Covens and Cornelius Mortier. Guillaume de l'Isle (1675-1726) was son of a cartographer and a pupil of Jean Dominique Cassini, who among other important contributions, aligned the study of astronomy to the study of geography. Under Cassini's direction, observations were made from locations all over the world that enabled longitudinal calculations to be made with much greater accuracy. De l'Isle carried on this exacting work with remarkable dedication and integrity, constantly revising and improving his maps. While precision was his primary goal, his maps are invariably elegant and attractive.

Lot: 2244 - Braun & Hogenberg, pub. 1575 - View of Jerusalem, Israel

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: 2245 - Braun & Hogenberg, pub. 1575 - View of Cusco, Peru and Mexico

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: 2246 - Braun & Hogenberg, pub. 1575 - View of Brussels, Belgium

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

Lot: 2247 - Braun & Hogenberg, pub. 1575 - View of Paris, France

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: 2248 - Schedel, pub. 1493 - Expulsion of Adam & Eve from the Garden of Eden (Illustrated by Michael Wolgemut)

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: 2249 - Schedel, pub. 1493 - Building Noah's Ark, Rainbow

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: 2250 - Schedel, pub. 1493 - God, the Father, Enthrone (illustrated by Michael Wolgemut)

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: 2251 - Schedel, pub. 1493 - God Creating the Universe on 4 Pages

About the Engravings: This listing includes all 7 of the engravings printed to 4 pages representing the 7 days of the creation of the universe from the Book of Genesis. It's one of the most beautiful series of illustrations of the creation. Description of the work: 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: 2252 - Schedel, pub. 1493 - Dance of Death (Danse Macabre) (Imago mortis)

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: 2253 - Schedel, pub. 1493 - Map of the World - Before the Discovery of America, Last View of the Old World (Das Ander Alter Der Werlt)

About the map: This is a beautiful example of a ptolemaic map of the ancient world. This is a particularly important map because it is one of the final represenations of the known globe before the discovery of the New World. It is undoubtedly one of the earliest obtainable printed maps of the world, published only 40 years after the invention of printing. The map is surrounded by twelve wind

Lot: 2254 - Gould, Asia - Blyth's Hawk-Eagle [Spiaetus Alboniger]

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: 2255 - Gould, Asia - Indian Kingfisher [Halcyon Fusca]

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: 2256 - Gould, Asia - White-winged Magpie [Pica Leucoptera]

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: 2257 - Gould, Asia - Little Racket-tailed Parrot [Prioniturus Discurus]

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: 2258 - Gould, Asia - Racket-tailed Parrot [Prioniturus Setarius]

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: 2259 - Mivart & Keulemans's A Monograph of the Lories - Volume with 61 Originally Hand-colored Lithographs

This lovely volume with 61 originally hand-colored lithographs is A Monograph of the Lories, or Brush-tongued Parrots. The work was authored by St. George Jackson Mivart and the celebrated John Gerrard Keulemans provided the images. This first edition work was published in London by R. H. Porter in 1896. The volume is bound in original cloth with gilt title to spine and cover. It includes 61 originally hand-colored lithographs. A Monograph of the Lories, according to Sacheverell Sitwell (writing in Fine Birds Books), included Keulemans 'best work'. The artist shows a masterful grasp of composition, balancing the need to show the birds in characteristic pose, whilst giving the maximum amount of information about the beautiful plumage that is so typical of the Loriidae family, but without losing sight of the importance of retaining the harmony of the image as a whole. The author, Mivart, describes the Loriidae family as 'a very attractive group of rather small birds' varying 'from the size of a Turtle-Dove to about that of a Sparrow', and consisting 'of 75 more or less distinct species. The family is remarkable for its brilliancy and gay coloration', and its friendliness: 'Some of them will spontaneously approach human dwellings, and most of them make excellent pets'. Their feeding habits are a special feature: 'The lories are very choice feeders, living as they do on the nectars and pollen of flowers. Their tongue is very remarkable, as it is formed as a kind of brush, which is no doubt destined to extract the nectar'. John Gerrard Keulemans (1842-1912) is one of the most respected bird artists whose images were noted for their fine detail. He contributed to some of the best known ornithological works including those of Elliot, Buller, Dresser, and The Ibis. According to Jackson ( Bird Illustrators, p. 90), “The great value of Keulemans' work as an ornithological draughtsman lay in his sureness of design of the plate and his accuracy in portraying the birds themselves. The bird figures were carefully drawn and executed down to the last scales on the feet. The feathering was neatly delineated with the different plumes receiving sympathetic treatment.”

Lot: 2260 - Wolf - 4 Folio Bird Lithographs

Included in this lot: Painted Spur-Fowl (Galloperdix lunulosa) American Rhea (Rhea americana) Magellanic Goose (Bernicla magellanica) Angolan Vulture (Gypohierax angolensis) Description of the work: 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: 2261 - Catesby, Folio - Horned Caterpillar with Pigeon Plum. 2-94

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: 2262 - Catesby, Folio - Cacao Tree (Chocolate). Sup-6

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: 2263 - Catesby, Folio - Purple Martin. 1-51

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: 2264 - Catesby, Folio - Red Claw Crab with Gorgonian. 2-37

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: 2265 - Catesby, Folio - Bahama Unicorn Fish. 2-19

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: 2266 - Catesby, Folio - Lane Snapper & Tobacco-Pipe Fish. 2-17

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

Lot: 2267 - Thornton, Folio - The Blue Egyptian Water-Lily

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: 2268 - Weinmann - 4 Mushroom Engravings

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

Lot: 2269 - Weinmann - 4 Tulip Engravings

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

Lot: 2270 - 8 Original Botanical Watercolors (according to Linnaeus system)

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: 2271 - Redoute, Folio - Pair of Botanical Engravings

Included in this lot: Alstraemeria Ligtu Gladiolus Carneus Description of the work: This exquisite folio stipple engraving is from Pierre Joseph Redoute's Les Liliacees. The work was published in Paris between 1802 and 1816 by chez l'auteur, imprimerie de Didot jeune. Each engraving features original hand-coloring and is on woven, watermarked paper. Les Liliacees was completed by Redoute while under the patronage of Empress Josephine, wife of Napoleon. The work is often considered Redoute's masterpiece. It was his largest and most ambitious work, representing not only lilies as the title suggests, but images of iris, orchids, amaryllis, and other botanical groups. The images were drawn from Empress Josephine's gardens at Malmaison. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. His 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. 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. 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. He was often referred to as the "Raphael of Flowers" because of his exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.

Lot: 2272 - Redoute, Folio - Golden Spider Lily (Amaryllis Aurea)

This exquisite folio stipple engraving is from Pierre Joseph Redoute's Les Liliacees. The work was published in Paris between 1802 and 1816 by chez l'auteur, imprimerie de Didot jeune. Each engraving features original hand-coloring and is on woven, watermarked paper. Les Liliacees was completed by Redoute while under the patronage of Empress Josephine, wife of Napoleon. The work is often considered Redoute's masterpiece. It was his largest and most ambitious work, representing not only lilies as the title suggests, but images of iris, orchids, amaryllis, and other botanical groups. The images were drawn from Empress Josephine's gardens at Malmaison. Redoute's name is synonymous with beauty and in the world of botanical art he is known as the best. His 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. 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. 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. He was often referred to as the "Raphael of Flowers" because of his exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.

Lot: 2273 - Redoute, Choix, Rare Folio - 7 Botanical Engravings

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: 2274 - Redoute, Choix, Rare Folio - Daffodil [Narcissus Gouani]

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: 2275 - Redoute, Choix, Rare Folio - Hyacinth [Jacinte d'Orient]

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: 2276 - Redoute, Choix, Rare Folio - Iris [Iris Xiphium]

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: 2277 - Audubon, Havell Ed - Maryland Yellow Throat. 23

This stunning, double elephant folio engraving is from true first edition of John James Audubon's Birds of America. The work was published by Audubon between 1827 and 1838. This edition is commonly referred to as the Havell Edition. The magnificent hand-colored etched plate was done by line-engraving and aquatint. These were produced by Robert Havell and Robert Havell, Jr. of London and W. H. Lizars of Edinburgh. These were done after the original live-size watercolors by Audubon. The engraving is on J. Whatman woven paper, photograph in the listing. The Havell edition of Birds of America is considered the greatest color plate book ever made. It was an expensive undertaking resulting in only about 165 to 175 complete sets produced, with far less loose on the market as many of the complete sets are preserved in museums. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible. Provenance: Property from the estate collection of a Ann Arbor, MI private collector.

Lot: 2278 - Audubon, Havell Ed - Warbling Flycatcher. 118

This stunning, double elephant folio engraving is from true first edition of John James Audubon's Birds of America. The work was published by Audubon between 1827 and 1838. This edition is commonly referred to as the Havell Edition. The magnificent hand-colored etched plate was done by line-engraving and aquatint. These were produced by Robert Havell and Robert Havell, Jr. of London and W. H. Lizars of Edinburgh. These were done after the original live-size watercolors by Audubon. The engraving is on J. Whatman woven paper, photograph in the listing. The Havell edition of Birds of America is considered the greatest color plate book ever made. It was an expensive undertaking resulting in only about 165 to 175 complete sets produced, with far less loose on the market as many of the complete sets are preserved in museums. John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible. Provenance: Property from the estate collection of a Ann Arbor, MI private collector.

Lot: 2279 - Valck, Schenk, & Cellarius's Composite Atlas - 2 Volumes with 168 Maps & Engravings

This exceptional two volumes features two works: Nova totius geographica telluris projectio. Edita per Gerardum Valck, Amsterdam. (2nd title) Inleidinge tot de geographie, waar in begreepen zyn de astronomische geographie, verklaarende de overeenkomst der aardkloot met de sphere: de natuurlyke geographie. Geevende de verdeelingen van alle de deelen der Aarde en des waters ... Door den Heer Sanson