Antique Prints, Maps, & Books of Natural

Lot: 2801 - De Bry - Florida - Ceremonies performed by Saturioua before going out to war

This significant, historic engraving is from Theodor de Bry & Jacques Le Moyne's Der ander Theyl de Newlich erfundenen Landtschafft Americae . . . in Floridam or Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. This is from the first German edition of the work published in Frankfurt by Joannis Wecheli. This is from one of the most important volumes published on early North America. It included Jacques Le Moyne de Morgues's illustrations of Native Americans. The work described the earliest French settlements that would become the United States. The illustrations were after watercolors drawn first hand in the New World by Le Moyne on the mid-1560s expedition led by Jean Ribault and Rene Goulaine de Laudonniere. His illustrations of the Florida Indians are some of the most important visual records of American Indians and their culture before the 19th century. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 2802 - De Bry - Florida - The chief applied to by woman whose husbands have died in war or disease

This significant, historic engraving is from Theodor de Bry & Jacques Le Moyne's Der ander Theyl de Newlich erfundenen Landtschafft Americae . . . in Floridam or Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. This is from the first German edition of the work published in Frankfurt by Joannis Wecheli. This is from one of the most important volumes published on early North America. It included Jacques Le Moyne de Morgues's illustrations of Native Americans. The work described the earliest French settlements that would become the United States. The illustrations were after watercolors drawn first hand in the New World by Le Moyne on the mid-1560s expedition led by Jean Ribault and Rene Goulaine de Laudonniere. His illustrations of the Florida Indians are some of the most important visual records of American Indians and their culture before the 19th century. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 2803 - De Bry - Florida - Manner in which their hermaphrodites are employed (Stretchers)

This significant, historic engraving is from Theodor de Bry & Jacques Le Moyne's Der ander Theyl de Newlich erfundenen Landtschafft Americae . . . in Floridam or Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. This is from the first German edition of the work published in Frankfurt by Joannis Wecheli. This is from one of the most important volumes published on early North America. It included Jacques Le Moyne de Morgues's illustrations of Native Americans. The work described the earliest French settlements that would become the United States. The illustrations were after watercolors drawn first hand in the New World by Le Moyne on the mid-1560s expedition led by Jean Ribault and Rene Goulaine de Laudonniere. His illustrations of the Florida Indians are some of the most important visual records of American Indians and their culture before the 19th century. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 2804 - De Bry - Florida - Picture of Fort Caroline

This significant, historic engraving is from Theodor de Bry & Jacques Le Moyne's Der ander Theyl de Newlich erfundenen Landtschafft Americae . . . in Floridam or Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt ... quae est seconda pars Americae. It is the second part or volume of Grands Voyages which is considered one of the most remarkable collections of voyages published in the Age of Discovery. This is from the first German edition of the work published in Frankfurt by Joannis Wecheli. This is from one of the most important volumes published on early North America. It included Jacques Le Moyne de Morgues's illustrations of Native Americans. The work described the earliest French settlements that would become the United States. The illustrations were after watercolors drawn first hand in the New World by Le Moyne on the mid-1560s expedition led by Jean Ribault and Rene Goulaine de Laudonniere. His illustrations of the Florida Indians are some of the most important visual records of American Indians and their culture before the 19th century. Theodor de Bry (1528-1598) was a prominent Flemish engraver and publisher. He came from a family of jewelers and engravers, and faced persecution for his Lutheran faith during the Spanish Inquisition. De Bry would be most known for his engravings of the New World from Grands Voyages, a work which would reach 30 volumes in scope. He was inspired to create this work after meeting Richard Hakluyt in 1587, who had published his own collection of voyages. De Bry's landmark work depicted the early voyages and settlements in the Americas. His work greatly influenced the European view of the Americas for a long period of time. De Bry's prints provide an important contemporary view of European conquest and settlement in early America. The images depict native customs, culture and warfare, and episodes in the history of European contact with these natives and their world. As Michael Alexander said, De Bry's work "brought to the European public the first realistic visualization of the exotic world opened up across the Atlantic by the explorers, conquerors and settlers." (Discovering the New World, p. 7)

Lot: 2805 - Captain Cook, Australia - First Harbor Charts of Botany Bay & Endeavour River

This fascinating engraving is from Captain James Cook & John Hawkesworth's Relation des Voyages entrepris par ordre de Sa Majesté Britannique... or An Account of the Voyages Undertaken by the Order of His Present Majesty for Making Discoveries in the Southern Hemisphere. The work was published in Paris by Saillant & Nyon and Panckoucke in 1774. It is the first edition in French on Cook's first voyage. Cook's first voyage of three, taking place between 1768 and 1771, was a combined Royal Navy and Royal Society expedition to the South Pacific aboard the HMS Endeavour. Departing from the Plymouth Dockyard in August 1768, the expedition crossed the Atlantic and reached Tahiti in time to observe the transit of Venus before setting off into the largely uncharted ocean to the south. In 1769, the crew reach New Zealand, and spent six months charting the coast before resuming their journey westward. In 1770 the crew became the first Europeans to reach the east coast of Australia before rounding the Cape of Good Hope in 1771 and returning to England the summer of that year. "The famous accounts of Captain Cook's three voyages form the basis for any collection of Pacific books. In three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than all his predecessors had done together. He was really the first scientific navigator and his voyages made great contributions to many fields of knowledge." (Hill) "Cook earned his place in history by opening up the Pacific to western civilization and by the foundation of British Australia. The world was given for the first time an essentially complete knowledge of the Pacific Ocean and Australia, and Cook proved once and for all that there was no great southern continent, as had always been believed. He also suggested the existence of antarctic land in the southern ice ring, a fact which was not proved until the explorations of the nineteenth century." (Printing and the Mind of Man p.135)

Lot: 2806 - Dalrymple - Chart of the Pacific Ocean from New Holland (Australia), New Zealand, to South America

This first edition engraving is from Alexander Dalrymple's An Historical Collection of the Several Voyages and Discoveries in the South Pacific Ocean. The work was printed for the author in London between 1770 and 1771. This work was an important collection of Spanish and Dutch voyages and helped herald in the golden age of Pacific exploration. Dalrymple was a staunch believer in the existence of the "Great Southern Continent", and used this work and translation of several voyages accounts to help support his belief. He translated Spanish voyages including Magellan's voyage of 1519, Mendana in 1595, and De Quiros in 1606. He also translated the Dutch voyages of Le Maire, Schouten, Tasman, and Roggeveen. Alexander Dalrymple (1737-1808) was a leading English hydrographer who spent most of his career with the East India Company. He was originally in line for Endeavour voyage that would instead go to Captain James Cook, due to his nautical experience. Dalrymple focused his efforts on research for this work, and published it before the return of Cook's voyage. The work was "An Historical Collection [was] intended to stir up enthusiasm for the project of discovering and exploring the great southern continent (Terra Australis Incognita)." (Speake, Literature of Travel and Exploration, p.306)

Lot: 2807 - Sanson - Map of the Southern Hemisphere (New Holland or Australia in partial outline)

This beautiful engraving of the southern hemisphere is from Pierre Moullart-Sanson is entitled Hemisphere Austral ou Meridl. et Antarctique du Globe Terrestre... The map was published in Paris circa 1725. The map features original outline hand-coloring. Pierre Moullart-Sanson was a French royal geographer that inherited the workshop and archives of his maternal uncles, Nicholas & Guillaume Sanson (Fathers of French Cartography). The map pre-dates the discoveries of Captain Cook and shows the Europeans understanding of the Southern Hemisphere at the time with New Holland (Australia) shown in partial outline.

Lot: 2808 - Freycinet, Australia - Chart of the Coast of Van Diemen's Land

This fine engraving is from Louis Claude de Saulces de Freycinet's atlas volume of Voyage de decouvertes aux Terres Australes, execute... sur les corvettes le Geographe, le Naturaliste, et la goelette le Casuarina, pendant les années 1800, 1801, 1802, 1803 et 1804... Partie Navigation et Géographie... Atlas. The work was published in Paris in 1812 au Depot General des Cartes et Plans de la Marine. The engraving was completed by Pillement and Dupare. This engraving was completed after the expedition of Louis Claude de Saulces de Freycinet & Nicholas Baudin. It was one of the most important early explorations of Australia. The expedition was sent out by the French government in 1800 with orders to complete the survey of the Australian coast. Commanded by Nicolas Baudin, the expedition left France in 1800 and sailed via Mauritius to the Australian coast in the region of Cape Leeuwin, arriving in May 1801. Peron sailed as naturalist on the expedition and Freycinet as cartographer. The vessels, Geographe and Naturaliste, sailed north from Cape Leeuwin, surveying the coast and making observations on the natural history and inhabitants, until they crossed to Timor. After three months the two ships set out for Tasmania, continued making detailed surveys, and went on to Sydney. The group then undertook a complete survey of the southern coast and an examination of the northern coast before returning to Mauritius. It was a celebrated voyage which brought back to France the most important collection of natural history specimens in the history of the French Museum.

Lot: 2809 - Rojas, Australia - View of part of the Sydney Botanic Gardens and the Governor's Stables (New Holland)

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2810 - Rojas, Australia - Indigenous People from Australia to New Holland

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2811 - Rojas - Plan of Sydney, Australia

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2812 - Rojas - Chart of the Pacific Ocean showing Hawaiian or Sandwich Islands, Australia, New Zealand

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2813 - Rojas, Hawaii - View of Honolulu (Sandwich Islands)

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2814 - Rojas, Hawaii - Scene of People & Town in Hawaii

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2815 - Rojas, Hawaii - John Adams (Koua-Kini), Governor of the Island of Hawaiʻi (Sandwich Islands)

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2816 - Rojas, Hawaii - Kamehameha III King of the Sandwich Islands

This historic lithograph is from the rare first edition of Francisco Michelena y Rojas's Viajes científicos en todo el mundo, desde 1822 hasta 1842; durante los cuales fueron visitadas... The work was published in Madrid in 1843 by I. Boix. The work depicted a rare Pacific voyage and was sold by subscription. "This is one of the rarest and least-known voyages to the Pacific. Michelena y Rojas, a native of Venezuela, crossed the Pacific from Mazaltan, Mexico, in the years 1840-41, exploring the Hawaiian Island chain, describing its political history (portraits of Kamehameha III and Governor John Adams are two of the lithographed plates), traditions, and customs. From there he sailed to Tahiti, Rotuma, Australia (a fine map of Sydney in 1840 enhances this section), Vanikoro, Guam in the Marianas, the Caroline Islands, Philippines, Macao, and Singapore. A large folding map of the Pacific Ocean traces his route." (Hill) "This work is cited in a few scattered bibliographies with the erroneous annotation that it contains the author's seven voyages. Actually the entire work covers only the Pacific Voyage, the sixth and most important..." (Hill)

Lot: 2817 - Rothschild & Keulemans, Hawaii - 5 Bird Lithographs

Included in this lot: Brant Goose (Extinct subspecies of Canada Goose) [Bernicla Canadensis Munroei] Short-tailed Albatross [Diomedea Brachyura] Hawaiian Black Noddy [Anous Hawaiiensis] Ao'u or Christmas Shearwater [Puffinus Nativitatis] Wrecked Sailors' House, Midway or Brookk's Islands 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: 2818 - Bien, Hawaii - Humuhumu Hinkole or Pinktail Triggerfish [Ballistes Vidua Solander]

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: 2819 - Bien, Hawaii - Humuhumu Eleele or Black Triggerfish [Melichthys Radula]

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: 2820 - Bien, Hawaii - Humuhumu Nukunuku Apua'a or Reef Triggerfish [Balistapus Recangulus]

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: 2821 - Bien, Hawaii - O'Ili or Fantail Filefish [Stephanolepis Spilosomus]

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: 2822 - Bien, Hawaii - Humuhumu Nakunuku Apua'a or Orange-lined Triggerfish [Balistapus Aculeatus]

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: 2823 - Merian - Dance of Death. 35

This rare and early engraving is from Matthaus Merian's Todten-Tantz, wie derselbe in der löblichen und weit-berühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit... or The Dance of the Dead... The Dance of Death, as it can be seen in the laudable and world-famous city of Basel. This engraving was published in Frankfurt in 1725 by Joh. B. Andrea and H. Hort. The engravings are printed from the original plates used for Grossbasler Totentanz first published in Basel in 1621. This is an enchanting rendering of Merian's work with very old hand-coloring added to the plate, often with added borders or details. There is a top coating providing a nice sheen to the color. Merian first rendered the 'Dance of Death' mural in 1616, just after Emanuel Bock's restoration. He published the most complete and reliable representation of the 'Dance of Death.' He viewed the mural as "'a mirror of human existence' in which people should recognize themselves in their transience and the resulting demand for a meaningful, God-devoted Christian life." (exhibition catalogue: Dances of Death of the HAB) Matthaeus Merian (1593-1650) was part of an exceptional artistic family. He was an artist and engraver himself that was born in Switzerland, and received training in engraving in Zurich, Nancy, Paris, and Strasbourg. He settled in Frankfurt where he worked for Johann Theodor de Bry, another accomplished publisher, and married his daughter, Maria Magdelena de Bry. He was the father of Matthaeus the Younger and the celebrated naturalist and artist, Maria Sibylla Merian. He took over De Bry's published house upon his death in 1623, and became particularly noted for his town views due to their artistry and accuracy.

Lot: 2824 - Merian - Dance of Death. 39

This rare and early engraving is from Matthaus Merian's Todten-Tantz, wie derselbe in der löblichen und weit-berühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit... or The Dance of the Dead... The Dance of Death, as it can be seen in the laudable and world-famous city of Basel. This engraving was published in Frankfurt in 1725 by Joh. B. Andrea and H. Hort. The engravings are printed from the original plates used for Grossbasler Totentanz first published in Basel in 1621. This is an enchanting rendering of Merian's work with very old hand-coloring added to the plate, often with added borders or details. There is a top coating providing a nice sheen to the color. Merian first rendered the 'Dance of Death' mural in 1616, just after Emanuel Bock's restoration. He published the most complete and reliable representation of the 'Dance of Death.' He viewed the mural as "'a mirror of human existence' in which people should recognize themselves in their transience and the resulting demand for a meaningful, God-devoted Christian life." (exhibition catalogue: Dances of Death of the HAB) Matthaeus Merian (1593-1650) was part of an exceptional artistic family. He was an artist and engraver himself that was born in Switzerland, and received training in engraving in Zurich, Nancy, Paris, and Strasbourg. He settled in Frankfurt where he worked for Johann Theodor de Bry, another accomplished publisher, and married his daughter, Maria Magdelena de Bry. He was the father of Matthaeus the Younger and the celebrated naturalist and artist, Maria Sibylla Merian. He took over De Bry's published house upon his death in 1623, and became particularly noted for his town views due to their artistry and accuracy.

Lot: 2825 - Merian - Dance of Death. 41

This rare and early engraving is from Matthaus Merian's Todten-Tantz, wie derselbe in der löblichen und weit-berühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit... or The Dance of the Dead... The Dance of Death, as it can be seen in the laudable and world-famous city of Basel. This engraving was published in Frankfurt in 1725 by Joh. B. Andrea and H. Hort. The engravings are printed from the original plates used for Grossbasler Totentanz first published in Basel in 1621. This is an enchanting rendering of Merian's work with very old hand-coloring added to the plate, often with added borders or details. There is a top coating providing a nice sheen to the color. Merian first rendered the 'Dance of Death' mural in 1616, just after Emanuel Bock's restoration. He published the most complete and reliable representation of the 'Dance of Death.' He viewed the mural as "'a mirror of human existence' in which people should recognize themselves in their transience and the resulting demand for a meaningful, God-devoted Christian life." (exhibition catalogue: Dances of Death of the HAB) Matthaeus Merian (1593-1650) was part of an exceptional artistic family. He was an artist and engraver himself that was born in Switzerland, and received training in engraving in Zurich, Nancy, Paris, and Strasbourg. He settled in Frankfurt where he worked for Johann Theodor de Bry, another accomplished publisher, and married his daughter, Maria Magdelena de Bry. He was the father of Matthaeus the Younger and the celebrated naturalist and artist, Maria Sibylla Merian. He took over De Bry's published house upon his death in 1623, and became particularly noted for his town views due to their artistry and accuracy.

Lot: 2826 - Merian - Dance of Death. 37

This rare and early engraving is from Matthaus Merian's Todten-Tantz, wie derselbe in der löblichen und weit-berühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit... or The Dance of the Dead... The Dance of Death, as it can be seen in the laudable and world-famous city of Basel. This engraving was published in Frankfurt in 1725 by Joh. B. Andrea and H. Hort. The engravings are printed from the original plates used for Grossbasler Totentanz first published in Basel in 1621. This is an enchanting rendering of Merian's work with very old hand-coloring added to the plate, often with added borders or details. There is a top coating providing a nice sheen to the color. Merian first rendered the 'Dance of Death' mural in 1616, just after Emanuel Bock's restoration. He published the most complete and reliable representation of the 'Dance of Death.' He viewed the mural as "'a mirror of human existence' in which people should recognize themselves in their transience and the resulting demand for a meaningful, God-devoted Christian life." (exhibition catalogue: Dances of Death of the HAB) Matthaeus Merian (1593-1650) was part of an exceptional artistic family. He was an artist and engraver himself that was born in Switzerland, and received training in engraving in Zurich, Nancy, Paris, and Strasbourg. He settled in Frankfurt where he worked for Johann Theodor de Bry, another accomplished publisher, and married his daughter, Maria Magdelena de Bry. He was the father of Matthaeus the Younger and the celebrated naturalist and artist, Maria Sibylla Merian. He took over De Bry's published house upon his death in 1623, and became particularly noted for his town views due to their artistry and accuracy.

Lot: 2827 - David Roberts - Fragment of the Great Colossi, at the Memnonium, Thebes

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: 2828 - David Roberts - Ruins of a Christian Church in the Grand Court of the Temple of Medinet Abou

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: 2829 - David Roberts - Facade of the Pronaos of the Temple of Edfou

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: 2830 - David Roberts - Thebes, the Colossal Statues of Amunoph III

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: 2831 - David Roberts's Holy Land - Volume 1 with 43 Duotone Lithographs

This is volume one of the Holy Land from David Roberts' most famous work, Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia. It 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 volume is done in full red moroccan with gilt details by Leighton Bindery reflective of luxury binders of the Victorian period. This volume is complete with 43 duotone lithographs (first 8 presented with old partial hand-coloring), descriptive text, subscriber list. 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: 2832 - Piranesi, Folio - View of the Baths of Titus [Veduta delle Terme di Tito]

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: 2833 - Piranesi, Folio - View of the Lugano Bridge over the Anio River [Veduta del Ponte Lugano du l'Anione]

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: 2834 - Pair of Original Watercolors of Chinese Boats or Junks

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

Lot: 2835 - Munster, pub. 1592 - Map of England (part of Scotland & Ireland)

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: 2836 - Munster, pub. 1592 - Map of Poland

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: 2837 - Munster, pub. 1592 - View of Florence, Italy

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 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: 2838 - Munster, pub. 1592 - View of Naples, Italy

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 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: 2839 - Munster, pub. 1592 - View of Venice, Italy

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 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: 2840 - Munster, pub. 1592 - View of Rome, Italy

This very old woodcut is from Sebastian Munster's Cosmographia Universalis or Cosmographey: das ist Beschreibung aller Lander [...] The work was published in Basel in 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: 2841 - Braun & Hogenberg, pub. 1575 - View of Nijmegen, Netherlands

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 Augsberg 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. 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 famouse 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: 2842 - Braun & Hogenberg, pub. 1575 - View of Utrecht, Netherlands

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: 2843 - Braun & Hogenberg, pub. 1575 - View of Basel, Switzerland

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: 2844 - Braun & Hogenberg, pub. 1575 - View of Danzig (Gdansk), Germany or Poland

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: 2845 - Schedel, pub. 1493 - View of Salzburg, Austria

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: 2846 - Schedel, pub. 1493 - View of Jerusalem, Israel

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: 2847 - Schedel, pub. 1493 - Moses Parts the Red Sea & Receives the Ten Commandments / Verso: Balaam & the Ass

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: 2848 - Schedel, pub. 1493 - First Modern Map of Northern & Central Europe (Germania Magna)

About the map: This map is noted as the first printed map of Germany. Michael Wolgemut created the woodcut. He was noted as the teacher of Albrecht Durer. W. B. Grinsberg also described this map as the first modern map of northern and central Europe. Hieronymus Munzer designed the map and it shows from the British Isles to Constantinople. It is one of the earliest maps to depict Scandinavian peninsula as well. About 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: 2849 - Keulen, Rare - Map of the Gulf of Bothnia

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

Lot: 2850 - Keulen, Rare - Map of the coast of Valencia, Catalonia, Languedoc, and Provence, and the islands of Majorca, Minorca and Ibiza

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

Lot: 2851 - Bayer - Pair of Constellation or Celestial Charts of Bootes & Perseus with the head of Medusa

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

Lot: 2852 - Fessenkov & Rozhovsky - Pair of Gaseous Dust Nebulae Photographs

Included in this lot: Gaseous Dust Nebulae Photograph [The filamentary nebula NGC 6960 in the constellation Cygnus] Gaseous Dust Nebulae Photograph [The filamentary nebula NGC 6992-5 in the constellation Cygnus] Description of the work: This scarce original photograph is from an album entitled Atlas gazovo-pylevykh tumannostei [Atlas of Gaseous Dust Nebulae]. The collection was created by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. It was published in 1953 in Almaty, Astrophysical Institute, Academic of Sciences of the Kazakh, SSR (Kazakhstan, USSR). This is a truly impressive mounted photograph from 1953 with accompanying text page. The text and photos were compiled by Vasiliy Grigorevich Fessenkov & Dmitry Alexandrovich Rozhkovsky. The pair pioneered the studying of gaseous nebulae. Fessenkov & Rozhkovsky were leading Soviet astrophysicists. They began their study of gas-dust galactic nebulae in 1950 and created these photographs. They began the study in order to understand "evolution of structure of nebulae, turbulent phenomena in interstellar clouds and in the vicinity of hot stars." The high-quality photographs illustrated the fine structure of objects formed by the radiation of ionised gas and made it possible to reveal dust scattering the light of stars. Their work was important and the field and inspired further interest in nebulae study. Rozhkovsky discovered 30 new diffuse nebulae. Provenance: Hale Library of the Carnegie Institute (deaccessioned)

Lot: 2853 - Flamsteed - Constellation or Celestial Chart of Pisces (Fish)

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: 2854 - Flamsteed - Constellation or Celestial Chart of Sea Monster (Baleine)

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: 2855 - Thomas - Constellation or Celestial Chart of Ursa Major, Jor-Dan

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

Lot: 2856 - Thomas - Constellation or Celestial Chart of Serpentarius, Serpens, Scutum Sobiesci

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

Lot: 2857 - Thomas - Constellation or Celestial Chart of Pegasus

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

Lot: 2858 - Thomas - Constellation or Celestial Chart of Monoceros (Unicorn)

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

Lot: 2859 - Thomas - Celestial Globe

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

Lot: 2860 - Chatelain - Map of America with Louisiana, Mexico, Florida, Great Lakes, Mississippi River, Virginia, New England, New Spain, part of Canada (inset of Quebec)

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

Lot: 2861 - Ortelius, pub. 1575 - Map of Wales

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

Lot: 2862 - Ortelius, pub. 1575 - Map of Abyssinia or Ethiopia or Northern Africa [Kingdom of Prester John (Mythical African King)]

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

Lot: 2863 - Ortelius, pub. 1575 - Map of the Western Balkans including Croatia, Slovenia, Bosnia

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

Lot: 2864 - De Wit - Map of Italy

This remarkable originally hand-colored engraved map is from Frederik de Wit’s Atlas Maior It was published in Amsterdam circa 1710. De Wit published composite atlases using plate stock of his own and other Amsterdam map publishers. This included maps from the likes of Hondius, Bleau, and Visscher. “The De Wit composite or 'dual-purpose' atlas is an early example of an atlas planned at its outset to serve as a land and a sea atlas in one. Koeman lists these works according to the number of maps and by and large this progression gives a fair idea of their development and therefore dates, beginning in the early 1660s. But he acknowledges it is not accurate and often subject to revised opinion. The index is quite unlike any of those listed in Koeman." (Wardington Catalogue) Frederik De Wit (1629-1706) created a leading publishing firm in Amsterdam during the golden age of Dutch cartography. He was a catographer and mapseller that was best known for his atlases and his Dutch town maps. After De Wit's passing his wife, Maria, ran the shop for a few years before selling. At this point, most of his plates went to Pieter Mortier.

Lot: 2865 - De Wit - Map of the British Isles

This remarkable originally hand-colored engraved map is from Frederik de Wit’s Atlas Maior It was published in Amsterdam circa 1710. De Wit published composite atlases using plate stock of his own and other Amsterdam map publishers. This included maps from the likes of Hondius, Bleau, and Visscher. “The De Wit composite or 'dual-purpose' atlas is an early example of an atlas planned at its outset to serve as a land and a sea atlas in one. Koeman lists these works according to the number of maps and by and large this progression gives a fair idea of their development and therefore dates, beginning in the early 1660s. But he acknowledges it is not accurate and often subject to revised opinion. The index is quite unlike any of those listed in Koeman." (Wardington Catalogue) Frederik De Wit (1629-1706) created a leading publishing firm in Amsterdam during the golden age of Dutch cartography. He was a catographer and mapseller that was best known for his atlases and his Dutch town maps. After De Wit's passing his wife, Maria, ran the shop for a few years before selling. At this point, most of his plates went to Pieter Mortier.

Lot: 2866 - La Tour - Map of North America [L'Amerique Septentrionale ou se Remarquent les Etats Unis]

This impressive map of North America is called L’amerique septentrionale, ou se remarquent les etas unis. It was engraved by Brion de la Tour, and was published in 1788 by Esnauts and Rapilly. It depicts contemporary borders between English, Spanish, and French North American territories, as well as the newly formed United States. The cartography is largely the same as a map made and published by the same people in 1779, but has been updated to include dates of discovery (see the Strait of Juan de Fuca) and other varying place names (see the Drake’s Bay or Bodega Harbor.)

Lot: 2867 - Edward Curtis - 6 Native American Photogravures

Included in this lot: Wall-Painting for the Summer Shiwanna Ceremony - Santo Domingo Record of Custodians of a Turtle-drum - Mandan Contents of Arikara Tribal Medicine Bundle Ground Plan of Arikara Medicine-lodge Rattles of Arikara Bear Medicine-men Medicine Bundles - Arikara Description of the work: This moving photogravure in quarto size is from Edward Curtis's The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. The work was published between 1909 and 1926 in Cambridge, Massachusetts. 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: 2868 - Edward Curtis - 6 Native American Photogravures

Included in this lot: Pecos in Ruins Ruins of the Church at Gyusiwa A Corner of Laguna The Bear Emerges - Arikara A Grave-house - Piegan The Sun-lodge - Piegan 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 between 1909 and 1926 in Cambridge, Massachusetts. 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: 2869 - Edward Curtis - 7 Native American Photogravures

Included in this lot: Teola ("Chipmunk"), Jemez Governor Santana Quintana - Cochiti A Santa Ana Man Sia Footgear Cutting the Centre-pole - Cheyenne The Ancient Arapaho The Turtles, with Feather Adornment - Mandan 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 between 1909 and 1926 in Cambridge, Massachusetts. 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: 2870 - Edward Curtis - Pair of Folio Native American Photogravures

Included in this lot: Tuvahe - Jemez Francisca Chiwiwi - Isleta 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: 2871 - Catlin for Currier & Ives - The Buffalo Hunt, Surrounded by the Herd

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 America. From drawings and notes of the author, made during eight years travel amongst forty-eight of the wildest and most remote tribes of savages in North America. This folio lithograph was published a from the famous publishers Currier & Ives. It was a New York publishing firm that operated from 1835 to 1907 with this hand-colored lithograph produced in 1858. Currier & Ives are often referred to as “Printmakers to the People.” George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being." In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian." He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate.

Lot: 2872 - Chagall & Fontaine's Fables - 4 Etchings of Fables

Included in this lot: The Sculptor and the Statue of Jupiter [Le Statuaire & la statue de Jupiter] The Mouse Metamorphosed into a Girl [La Souris metamorphosee en Fille] The Madman Who Sells Wisdom [Le Fou qui vend la sagesse] The Shepherd and His Flock [Le Berger & son troupeau] 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: 2873 - Mucha, Folio - 5 Floral Design or Motif Lithographs

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, kerosene lamps, cutlery, posters, furniture, and illustrations for books. Mucha "illustrates the process of stylisation and simplification that transforms a drawing from nature to an object for practical use [...] The compatibility of design and material is emphasized in applications of an identical motif on tableware, lace or jewelry. Examples for graphic artists include studies of nude or draped figures and of heads. Mucha's drawings and applied designs show virtuosity that surpasses technical ability. The publication was considered an invaluable textbook for artisans and designers and was used by art students in France and abroad, including Russia." (V. Arwas et al. Alphonse Mucha The Spirit of Art Nouveau (Alexandria, VA: 1998), p.310) Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement. Provenance: Property from the Collection of Seymour Stein

Lot: 2874 - Mucha, Folio - Pair of Design Lithographs

This stunning and rare lithograph is from Alphonse Mucha's "Documents décoratifs" which was edited by Gabriel Mourey. The work was published in Paris by Librairie centrale des Beaux-Arts in 1902. The work was an excellent representation of his work in the art nouveau movement. It included images of flowers, fauna, women, jewellery, kerosene lamps, cutlery, posters, furniture, and illustrations for books. Mucha "illustrates the process of stylisation and simplification that transforms a drawing from nature to an object for practical use [...] The compatibility of design and material is emphasized in applications of an identical motif on tableware, lace or jewelry. Examples for graphic artists include studies of nude or draped figures and of heads. Mucha's drawings and applied designs show virtuosity that surpasses technical ability. The publication was considered an invaluable textbook for artisans and designers and was used by art students in France and abroad, including Russia." (V. Arwas et al. Alphonse Mucha The Spirit of Art Nouveau (Alexandria, VA: 1998), p.310) Alphonse (Alfons) Maria Mucha (1860-1939) was a Bohemian and Czech artist. He produced most of his early work in Paris and truly broke through around 1895. He moved back to Prague in 1910. Mucha was one of the most influential artists to the art nouveau movement. Provenance: Property from the Collection of Seymour Stein

Lot: 2875 - L’Estampe Moderne by Mucha - Salome

This beautifully illustrated, lithographed poster is from L’Estampe Moderne. The work was published by one of the best printers of the day, Champenois. The lithographs were printed under the supervision of C. Masson and H. Piazza and published in Paris between May 1897 and April 1899. The work was sent out every month with four prints and a cover with art work by Alphonse Mucha by subscription only. The intention of this work was to “reanimate and disseminate the taste for prints” (issue 24), thus 2000 of each print were published plus 100 on Japan paper. This famous collection included works by major Art Nouveau artists including Alphonse Mucha, Louis Rhead, Marcel Lenoir, Henri Boutet, Henri Fantin-Latour, Edward Burne-Jones, and Théophile Steinlen. Every print has the blind stamp of a woman’s profile in a lower corner. The large format lithographs are on excellent quality paper. When available we will include a tissue descriptive paper original to the work. The lithographs were done by the artists, rather than after, which makes the plates original Art Nouveau.

Lot: 2876 - 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: 2877 - 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: 2878 - 4 Original Watercolor of French Porcelain Home Designs

This superb original watercolor is from the production catalog from Francis Masse and Fourmaintraux et Successeurs entitled Catalogue d'aquarelles de faı̈ence de Desvres. The collection was completed for Desvres between 1870 and 1940. The watercolors were intended to illustrate the models from the faience and porcelain manufactories of Desvres including the Fourmaintraux-Hornoy, Fourmaintraux Frères, Jules Fourmaintraux, Francis Masse (successor), and Vve Francis Masse workshops. The porcelain and faience objects are beautifully rendered and decorated, some in the style of Louis XV. Some of the watercolors have notations for the manufactory, annotations of different scenes available, or pricing according to diameter. Offerings of trays, dishes, sconces, vase, bowls, and more were available in the catalog. The Fourmaintraux family and successors were the heart of the Desvres faience manufacturing. Francois-Joseph Fourmaintraux was a painter-turner at Desvres’ Grand-Place (around 1765). He founded his own manufactory in 1804 that left a mark on the ceramic industry throughout the 1800s. His four sons created the First Fourmaintraux Frères company which lasted until 1884. His eldest son, Louis-François Fourmaintraux, then took over under the name Fourmaintraux-Hornoy. In 1863, Charles-François Fourmaintraux-Courquin (third generation), created a tile factory. Under the Fourmaintraux, the Desvres label became a mark of quality, with peak popularity between 1878 and 1886. The Fourmaintraux dynasty continued with Gabriel (4th generation), Claude (5th generation), and Olivier (6th generation). In the 1990s Masse Frères and G. Fourmaintraux merged creating Faïencerie MasseFourmaintraux.

Lot: 2879 - Descourtilz - 5 Botanical Engravings (Blossoms)

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

Lot: 2880 - Descourtilz - 4 Botanical Engravings (Seed, Fruit)

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

Lot: 2881 - Descourtilz - 4 Botanical Engravings (Berries, Fruit)

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

Lot: 2882 - Descourtilz - 4 Botanical Engravings (Fruit)

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

Lot: 2883 - 6 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: 2884 - Weinmann - 3 Cactus 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: 2885 - Weinmann - 7 Carnation 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: 2886 - Van Houtte - 6 Pear Prints

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

Lot: 2887 - Van Houtte - 3 Clematis Prints

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

Lot: 2888 - Van Houtte - 4 Rose Prints

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

Lot: 2889 - Prevost - Pair of Engravings of Floral Arrangements

Included in this lot: Arrangement of Roses, Prinula or Auricula, & Flowers Arrangement of Roses, Tulips, Buttercup, Auricula Description of the work: This beautiful etched and lithographed plate is from a collection of botanical illustrations after Jean Louis Prevost. It was printed in Paris between 1800 and 1820. The etchings and lithographs were done after Prevost's original illustrations by the artists Legrand, Alliot, Cally, Soyer, Deplech after Bourgeouis, and Duplat. Jean Louis Prevost (1760-1810) was a renowned botanical artist. He studied under Jean Jacque Bachelier in Paris. He created one of the most exquisite French botanical works, Collection des Fleurs et des Fruits. He often had his work exhibited in the Paris Salon and was a member of the Academie de Saint Luc.

Lot: 2890 - Spaendonck - Pair of Botanical Engravings: Bellflower & Foxglove

This rich, folio botanical stipple engraving is from Gérard van Spaendonck's Fleurs dessinées d'après nature. The work was published in Paris circa 1800. The engravings were mostly completed by P. F. Le Grand for the work with some done by L. C. Ruotte, Carrée, J. Godefroy, and A. L. X. Chaponnier. This work was exceedingly rare. "Copies are occasionally found either hand-coloured or printed in colour and retouched with watercolour. . . the watercolour serves in fact to cloak the delicacy of the stipple-work. In their black-and-white state, these prints may well claim to be the finest flower-engravings ever made." (Great Flower Books, 77) Gerard Van Spaendonck (1746-1822) was a Dutch painter and professor. He was a master to Pierre Joseph Redouté, who further perfected his style of stipple engraving botanicals. "Becoming a master in the art of engraving, Gérard Van Spaendonck added to his compositions very small dots intended to refine the rendering of details and nuance the colors (technique known as "spit")... [He was] Appointed painter to the Cabinet of Queen Marie-Antoinette in 1786, he was also a professor of renowned, who can boast of counting Pierre-Joseph Redouté among his students. (Great Flower Books, 77)

Lot: 2891 - Schumann - 6 Cactus Prints

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

Lot: 2892 - Redoute, Choix, Rare Folio - Pear [Poire Tarquin]

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: 2893 - Redoute, Choix, Rare Folio - Plum [Prunus Dometica]

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: 2894 - Redoute, Choix, Rare Folio - Sweet Pea [Latyrus latifolius]

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: 2895 - Redoute, Choix, Rare Folio - Dahlia [Dalea simplex]

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

Lot: 2896 - Redoute, Choix, Rare Folio - Chinese Aster [Aster Chinensis]

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: 2897 - Redoute, Folio - Red Giant Amaryllis (Amaryllis Vittata)

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: 2898 - Thornton, Folio - The Persian Cyclamen

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: 2899 - Thornton, Folio - The Sacred Egyptian Bean (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: 2900 - Brookshaw, Folio - Pineapple. 55

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

Lot: 2901 - Catesby, Folio - Bead Snake (Corn Snake) with Virginia Potato (Sweet Potato). 2-60

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: 2902 - Catesby, Folio - Centipede with Witch Hazel. Sup-2

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: 2903 - Catesby, Folio - Bahama Finch with Broadleaved Guajacum with Blue Flowers. 1-42

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: 2904 - Catesby, Folio - Blackcap Flycatcher. 1-53

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: 2905 - Catesby, Folio - Finch Creeper. 1-64

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: 2906 - Catesby, Folio - Cardinal or Red Bird with Hiccory Tree & Pignut Tree. 1-38

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: 2907 - Jardine's Hummingbirds - Two Volumes with 63 Originally Hand-colored Engravings

These two volumes on hummingbirds are a part of Sir William Jardine’s Naturalist’s Library Ornithology. They were published in Edinburgh in 1843 by W. H. Lizars. Both volumes are bound with brown cloth with an embossed cover and gold gilt design and lettering to spines. Volume 1 (or 14) includes a portrait of Linneaus and a short description of his works, biography, and other facts about him. This volume includes 33 plates. Volume 2 (or 15) includes a portrait of Pennant and a short description of his works, biography, and other facts about him, and includes 30 plates. Sir William Jardine (1800-1874) was a talented Scottish naturalist. Some of his original work is in the London Natural History Museum and the Royal Scottish Museum. Jardine contributed most of the text for his works.

Lot: 2908 - Jardine's The Naturalist's Library - Volume 6 with 30 Originally Hand-colored Engravings of Parrots, Cockatoos, & Macaws

This charming volume of engravings is from Sir William Jardine’s work The Naturalist’s Library. The work was published in 1843 in London & Edinburgh. Each volume features a memoir of a prominent man. This volume is in blown hard cloth binding, with embossed board, and gold gilt design and details, including gold gilt lettering to the spine. There are 30 originally hand-colored engravings of parrots, cockatoos, and macaws. The frontispiece features a hand-colored illustration as well and a portrait of Thomas Bewick. It also includes a memoir of Thomas Bewick by Rev. William Turner, Jr. Each steel engraved plate features an animal presented in nature. The backgrounds for each plate are left uncolored, while the figure was originally hand-colored at the time of printing. The engravings for this work were based off many of the predominant artists in the field of natural history including John James Audubon, John Gould, Maria Sybilla Merian, William Swainson, Edward Lear, Prideaux, and John Selby. The Naturalist’s Library was published to be accessible to a wide audience of natural history enthusiasts. Most importantly the work was intended to educate the youth, and thus why the work was published in a small octavo size. The work was much more affordable than others available at the time and illustrated many subjects of natural history including, birds, animals, fish and insects. Sir William Jardine (1800-1874) was a talented Scottish naturalist. Some of his original work is in the London Natural History Museum and the Royal Scottish Museum. Jardine contributed most of the text for his works.

Lot: 2909 - Percheron's Parrots - Volume with 20 Originally Hand-colored Engravings

This lovely illustrated volume of parrots is Gaston Percheron’s Le Perroquet or The Parrot. This book was published in Paris by P. Asselin in 1878. The volume is bound in red leather gold gilt writing. It features 20 originally hand-colored engravings of various parrots.

Lot: 2910 - Thorburn's Game Birds and Wild-Fowl of Great Britain and Ireland - Volume with 30 Bird Plates

This first edition work is A. Thorburn's Game Birds and Wild-Fowl of Great Britain and Ireland. The work was published in London in 1923 by Longmans, Green and Co. The volume is bound in original red cloth gilt. There is a frontispiece and 30 color plates with original tissue guards. Provenance: Ex. Librish Bookplates of J.E. Wightman and M.H. Cockell (1939)

Lot: 2911 - Martinet & Buffon - 5 Duck Engravings

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

Lot: 2912 - Martinet & Buffon - 6 Bird of Prey Engraving

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

Lot: 2913 - Seba - 6 Shell Engravings

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

Lot: 2914 - Seba - 4 Butterfly & Moth Engravings

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

Lot: 2915 - Shaw & Nodder - 6 Fish or Sea Life Engravings

Included in this lot: Anchor-toothed Sparus. 898 Apua Bodian. 778 Bifasciated Labrus. 700 Black-finned Sparus. 652 Blue-headed Labrus. 942 Boar-tusked Sparus. 810 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 2916 - Shaw & Nodder - 6 Parrot Engravings

Included in this lot: Great-billed Parrot. 921 Dusky Parrot. 789 Vaillantian Parrakeet. 909 Black-backed Parrakeet. 653 Pale Parrakeet. 258 Zoned Parrot. 657 Description of the work: The Naturalist's Miscellany was a monumental 24-volume work, known for its wide range of birds, reptiles, insects, quadrupeds, sea life, and botanicals. These prints are highly sought after by collectors for their extremely decorative and whimsical nature. George Shaw authored the work, providing details for the over 1000 species described therein. Fredrick Nodder was the engraver for most of the work. After his death in 1800, however, his son took over the position. The work was published in London from 1789 to 1813. Each engraving features beautiful, original hand-coloring on woven, J. Whatman watermarked paper. The original descriptive text (sometimes in both English and Latin) is included with each engraving. George Shaw was a doctor, Fellow of the Royal Society, co-founder of the Linnean Society, and a zoologist of the British Museum. He was also the first to publish a scientific description of the platypus which was done in his noted work with Frederick Nodder, the Naturalist’s Miscellany.

Lot: 2917 - Shelley & Keulemans - 4 Sunbird Lithographs

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

Lot: 2918 - Seligmann after Edwards - Pair of Owl Engravings

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

Lot: 2919 - Seligmann after Edwards - 4 Parrot Engravings

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

Lot: 2920 - Gould - Grey-breasted Aracari or Toucan [Pteroglossus Hypoglaucus]

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

Lot: 2921 - Sharpe & Gould - Great Bird of Paradise [Paradisea Apoda]

This stunning hand-colored folio lithograph is from Monograph of the Paradiseidae, or Birds of Paradise and Ptilonorhynchidae, and Bower-Birds by Richard Bowdler Sharpe. The work was published in London by Taylor & Francis for Henry Sotheran & Co between 1891 and 1898. The Birds of Paradise was the idea of John Gould's but completed after his death by Sharpe. The plates were predominantly drawn by William Matthew Hart, John Gould, and John Gerard Keulemans. It was the first monograph devoted to the remarkable birds of paradise and the "last of the fine bird books" (Fine Bird Books p.107) The remarkable-looking Birds of Paradise have captivated western science since Magellan first brought back a skin of such a creature in 1522. The skins, highly prized by East Indian natives, was given by the ruler of Batchian (in the Mollucas) as a gift to the King of Spain. The legs and wings of the bird, however, had been removed when skinned, presumably to better show its impressive plumage. When asked why the bird had no wings or feet, the natives replied that none were needed as the bird simply floated in its heavenly paradise. Thus, the earliest descriptions of the species, and indeed even its scientific naming by Linnaeus in the 18th century as Paradisaea apoda (legless bird of paradise), perpetuated that myth. Due to the remote nature of their rain forest habitat in New Guinea, it was not until the mid-19th century that these remarkable birds were first scientifically observed and accurately described. Gould had intended to publish the first monograph devoted to the birds of paradise following completion of his Birds of New Guinea, but he did not live to do so. When Sharpe took over the task of completing that work, he appealed for subscribers for the proposed monograph. The response was clearly enthusiastic as within three years the first part of the present work was published. Some of the plates had previously appeared in Gould's Birds of New Guinea as "Messrs. Sotheran purchased the stock of Gould's works after his death [and] acquired the stones with which he had intended to illustrate his Monograph... Many of them were broken or otherwise damaged, and of these some have been redrawn or replaced by new plates by Mr. Hart. Since Gould's time, however, many marvelous new species have been discovered, and these have been described and figured in the present work" (Appendix). Fine Bird Books (1990) p.107; Nissen IVB 581; Ripley 263; Wood, p.565; Zimmer, p.581.

Lot: 2922 - Gould, Asia - Pair of Phyllornis (Bird) Lithographs

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: 2923 - Gould, Asia - Rosy-breasted Trogon [Harpactes Ardens]

Included in this lot: Hodgson's Phyllornis [Phyllornis Hodgsoni] Hardwick's Phyllornis [Phyllornis Hardwicki]Description of the work:This remarkable ornithology lithograph with hand-finished color is from the esteemed John Gould’s Birds of Asia published in London between 1850 and 1883.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: 2924 - Gould, Asia - Philippine Racket-tailed Parrot [Prioniturus Spatuliger]

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: 2925 - Gould, Asia - Great Racket-tailed Parrot [Prioniturus Flavicans]

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: 2926 - Gould, Asia - Nepaulese Blue Pie [Urocissa Occipitalis]

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: 2927 - Gould, Asia - Chinese Blue Pie [Urocissa Sinensis]

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: 2928 - Elliot - Marquis de Raggi's Bird of Paradise

This stunning folio lithograph is from Daniel Giraud Elliot's A Monograph of the Paradiseidae, or Birds of Paradise. The work was published in London by the Elliot for subscribers in 1873. Each originally hand-colored lithograph was done by J. Smit after Joseph Wolf's illustrations and colored by J. D. White. "The plates in this work, almost as magnificent as the birds they portray, were the fruits of Elliot's considerable wealth, Wolf's great artistry, and both men's profound knowledge and love of birds." (Dance) Elliot writes of the illustrations in his preface to the work: "The drawings of Mr. Wolf will, I am sure, receive the admiration of those who see them; for, like all that artist's productions, they cannot be surpassed, if equalled, at the present time. Mr. J. Smit has lithographed the drawings with his usual conscientious fidelity, and in his share of the work has left me nothing to desire... In the colouring of the plates Mr. J.D. White has faithfully followed the originals; and in the difficult portions where it was necessary to produce the metallic hues, he has been very successful." Daniel Giraud Elliot (1835-1915) was an American zoologist. He produced numerous, stunning natural history works recruiting artists that helped form some of John Gould's works. He served as the first curator of zoology for the Field Museum in Chicago. He was the founder of the American Ornithologist Union and one of the founders of the American Museum of Natural History in New York City. Elliot’s lithographs are some of the most valuable American bird plates.

Lot: 2929 - Audubon, Havell Ed - Field Sparrow. 139 (Framed)

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. This engraving is sold framed. It was framed by Douglas Kenyon in Chicago. Acid Free / Museum board / UV Plexiglass. The engraving has been checked for the watermark which is present dating 1832. Provenance: Property from the estate collection of a Ann Arbor, MI private collector.