William Reese Company BULLETIN 17

409 TEMPLE STREET NEW HAVEN, CONNECTICUT 06511

PHONE: (203)789-8081 FAX: (203)865-7653 E-MAIL: [email protected] www.reeseco.com The Great West Illustrated

A Classic of Western Photography 1. Adams, Ansel: PARMELIAN PRINTS OF THE HIGH SIERRAS. San Francisco: Jean Chambers Moore, 1927. [5]pp. of quarto let- terpress including titlepage, limitation, dedication, and content; followed by eighteen photographs printed on parchment, the images measuring 5¾ x 7¾ inches, the sheets measuring 10 x 12 inches. Each photograph with a printed caption, and each photograph laid into a folded folio sheet, with a more detailed letterpress caption. Original cloth portfolio front cover and the photographs and let- terpress folio holders laid into a later cloth portfolio in the style of the original. The prints are in beau- tiful condition, with rich tonality. Fine. In a half mo- rocco and cloth clamshell box, spine gilt. A landmark work in 20th-century photogra- phy and in the career of Ansel Adams, con- taining beautiful images of Yosemite and the Sierras. This is Adams’ first published port- folio, and contains many iconic images, in- cluding the majestic view of Half Dome, called “Monolith,” and pictures of El Capitan and Sentinel Rock. The introductory letter- press section is signed by Adams in manu- script on the dedication leaf. Ansel Adams published his first photographic prints in 1921 and worked to develop a realistic quality in his images. His career as a photographer took a quantum leap in 1926 when Albert Bender arranged to publish Adams’ prints in a portfolio. Edwin and Robert Grabhorn, of whom Bender was also a patron, produced the accompanying letterpress text. Within hours, Bender had sold fifty-six of the portfolios, and eventually it was contracted for 150 portfolios to be produced. About 100 sets of the prints were completed by Adams, but some were destroyed in a warehouse fire, and a total of only approximately seventy-five portfolios were offered for sale. Adams printed his images on Kodak Vitava Athena Grade T Parchment, a cream-colored, gelatin silver paper that is translucent when held up to light. The resulting print has a fine grade of tonality, and a rather ethereal quality. A masterpiece in the pho- tographic depiction of the West. $110,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM39629.html

Click on the blue hyperlink following each description (of items not previously sold) to access the complete listing for the item and additional images if available. Panoramic View of Camp Apache 2. [Arizona]: [Anderson, G.]: CAMP APACHE, ARIZONA, 1876. [Camp Apache, Az.]. Aug. 5, 1876. Gray watercolor, highlighted with red, white, and blue water- color, on paper. Image size: 16¼ x 21 inches. Sheet size: 20 x 25 inches. Titled in block letters in the lower margin. Signed and dated lower mid-left image: “G. Anderson / Aug. 5th 1876.” Three short marginal tears ex- pertly repaired. Excellent displayable condi- tion. Matted and glazed, in a modern deco- rated gilt frame. A panoramic view of Camp Apache, a U.S. Army stronghold in southeastern Arizona Territory, established to con- trol the White Mountain and Cibecue Apaches. Indian fighter Gen. George Crook and his Apache Scouts operated from the base, attempting to control the marauding tendencies of the wild tribes. The fort was originally built in 1870 as Camp Ord and was renamed several times. The post was designated with its famous appellation of Fort Apache in 1879. The camp is pictured in 1876, shortly after Gen. August Valentine Kautz had taken command of the Department of Arizona. “G. Anderson” is not a recorded artist; he was likely a soldier with some training in drawing who was stationed at Camp Apache. An American flag, painted red, white, and blue (the only object in the painting not painted in shades of gray) flies above the parade ground. The camp is shown in fine detail, in the valley of the White Mountain River, with canyons and mesas in the near distance. More than sixty buildings are depicted, including head- quarters, the commanding officer’s residence and enlisted barracks, privies, and work sheds. At the camp entrance in the right foreground, functioning as a decorative cartouche for the picture, stands an Indian brave in a feathered headdress, loincloth, and leggings, leaning on a long rifle. A fine historical graphic record of one of the most storied western forts. $15,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM37628.html

An Important Visual Reference 3. Baird, Joseph Armstrong, Jr., and Edwin Clyve Evans: HISTORIC LITHOGRAPHS OF SAN FRANCISCO. San Francisco: Pub- lished by Steven A. Waterson for Burger & Evans, 1972. 40pp., printed on rectos only, plus forty-six illustrations (many colored or tinted, one fold- ing). Oversized oblong folio. Original blue cloth. A touch of finger soiling. Near fine. A physically impressive and thematically im- portant work, attempting to be a definitive guide to historic lithographs of San Francisco from the 19th century. 231 lithographs are listed and described in detail, with variant states noted; and forty-six are fully illustrated, many of them colored. Though the colophon states an edition of 1,000 copies, it is believed that not more than 150 copies were actually printed (this is copy number 44). A tremendously use- ful source for the history of the visual repre- sentation of San Francisco. Sold A Recently Discovered Drawing of Bent’s Fort in Its Final Days

4. [Bent’s Fort]: [Colorado]: [BENT’S FORT, COLORADO TERRITORY]. [Bent’s Fort in southeastern Colorado. ca. 1869]. Pencil on buff paper, 10½ x 14¾ inches. Inscribed in pencil in the lower right corner: “Bent’s Fort. Arkansas River. Colorado Ter. July 13th 186[?]. This trading post built in 1832. Now used as a S.O.M. + Ex station.” A modern penciled inventory no. on reverse: “WCA- 2800 (b).” Signed with an interlocking JFK monogram, lower right image (at the edge of the grass). Two short closed tears at the extreme edges, and a tiny chip in the lower right corner, not affecting the image. Archival matting. Excellent displayable condition. A very fine and finished pencil drawing of Bent’s Fort, on the Arkansas River in southeastern Colorado Territory. This is one of the very few images of this legendary western fort, which was a center of the fur trading empire built by brothers George and William Bent. It depicts the once important trading post during its last commercial phase, as a stagecoach station for the Barlow-Sanderson Overland Mail & Express Company on the route from Kansas City to Santa Fe. The surviving structures of the adobe stronghold are seen in a deteriorating state, barnyard animals roaming the grounds, the walls and gates falling, tended by a lone agent. It is possibly the last image of the original Bent’s Fort. Despite its key role in the Santa Fe and fur trades at their height, very few images of it survive in any form. A detailed plan and view of the fort in James Abert’s report of his 1845 western expedition are the best known depictions of the fort and these, along with the archeological evidence, provided the basis for the National Park Service’s modern reconstruction. It has been suggested that the monogram in the lower corner of the picture is that of John Frederick Kensett, a leading painter of the Hudson River School and an artist skilled in small pencil drawings, learned in his career as an engraver. Kensett made on-the-spot sketches of the Fort during his 1870 trip to Colorado Territory with fellow Hudson River School painters Worthington Whittredge and Sanford Robinson Gifford. Only four of the pencil sketches absolutely identifiable as by Kensett survive from this Colorado trip, and we make no attribution of the present drawing. This very fine drawing of Bent’s Fort is unrecorded in the Art Inventories Catalog of the Smithsonian American Art Museum, unknown to the archivist at Bent’s Old Fort National Historic Site, and unpublished. One of the few depictions of a major historic landmark of the West, the drawing is a significant addition to the art history of Colorado. $27,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM39645.html The Only Bierstadt Chromolithograph Printed in the United States

5. [Bierstadt, Albert]: SUNSET: CALIFORNIA SCENERY. [Boston: L. Prang & Company, 1868]. Chromolithograph, 12 x 18 inches. Slight edge wear in the upper margin, not affecting the image. Two light stains in the center of the image. Very good. Matted. A strikingly beautiful chromolithograph by Louis Prang of a painting by famed western artist Albert Bierstadt. This work, uniting the greatest American chromolithographer and one of the great artists of the West, is the only American chromolithograph of a Bierstadt work. It is such a fine reproduction that when the print hung beside the original painting in Prang’s Boston gallery, viewers were unable to tell which was the original and which the copy. The image shows a beautiful sunset over a river, with cliffs on one side and forest on the other. Orange, red, blue, and green dominate the color palette. It is an excellent example of the heights to which chromolithography could ascend, and of the challenge posed to painting by the mechanical arts in the 19th century. Bierstadt was abroad when Louis Prang printed the work in 1868, and it is likely that the production was overseen by the artist’s brother, Edward. Prang offered the chromolitho- graph for $10 a copy and intended it to be part of a series of works illustrating the paintings of noted American artists. Prang’s chromolithograph “attempted to reproduce the dense forms and spectacular atmospheric effects Bierstadt had created. Prang’s advertisement described the chromo as one of the ‘best reproductions’ ever brought out: ‘It represents a rocky California valley, where nature has remained undisturbed in her grandeur and solitude. The rays of the setting sun have bathed the river, and the rock on its bank, in a flood of golden light, while impenetrable darkness already hovers over the forest in the foreground’...The dramatic light and majestic qualities of this chromo were a radical change from the quiet landscapes that Prang had published...‘Sunset’ remained a standard item on Prang’s list for more than a decade” (Marzio, The Democratic Art, p.111). Sold The Dog Dancer 6. Bodmer, Karl: PEHRISKA-RUHPA. MOENNITARRI WARRIOR IN THE COSTUME OF THE DOG DANSE [sic]. [Tab. 23]. Paris: Coblenz and London, [1839-1842]. Handcolored aquatint engraving by René Rollet after Bodmer, blindstamp to lower margin. Sheet size: 20½ x 15¾ inches. Very good. Perhaps the greatest image to emerge from the picturing of the American West, and certainly Karl Bodmer’s most famous. This highly-charged portrait of Péhriska-Rúhpa (“Two Ravens”) presents the warrior and chief of the Hidatsa in way that encapsulates the vanished era of the Plains Indian. The Swiss-born Bodmer was engaged by Prince Maximilian zu Wied- Neuwied specifically to provide a record of his travels in North America, principally among the Plains Indians. Karl Bodmer’s images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a pre- viously little understood (and soon to vanish) way of life. $60,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM38873.html Illustrated County Histories: Superb Lithographic Scenes 7. [California]: [Wilson, J. Albert]: HIS- TORY OF LOS ANGELES COUNTY CALIFORNIA WITH ILLUSTRATIONS DESCRIPTIVE OF ITS SCENERY, RESIDENCES, FINE BLOCKS AND MANUFACTORIES, FROM ORIGINAL SKETCHES BY ARTISTS OF THE HIGHEST ABILITY. Oakland: Thompson & West, 1880. 192pp. including colored map, plus eighty-six lithographs (one of them double- page). Oblong quarto. Original brown cloth boards, stamped in blind and gilt, with new black leather backstrip and corners, spine gilt. Boards rubbed and edgeworn. Small closed tear in upper inner corner of map. First seven leaves lightly stained, a number of leaves with small closed tears in the edges, else quite clean and neat in- ternally. About very good. A marvelous visual directory of Los Angeles County in the second half of the 19th cen- tury, showing the rapid growth that charac- terized the area at the time. The illustra- tions cover the great expanse of Los Angeles County, with many focusing on the city of Los Angeles itself, but also encompassing such far-flung towns as Anaheim, San Gabriel, Orange, Pomona, Centralia, and Santa Ana. A great sense of the agricultural origins of the region’s wealth is given by the abundance of illustrations of orange and lemon groves, farms, and vineyards. Also shown are warehouses, the Evergreen cemetery, mills, stables, hotels, a carriage manufacturer, the Catholic cathedral, and the Anaheim Sanatorium. Scores of homes, from the grand residence of former governor John G. Downey to more modest dwellings are shown, as are pic- tures of entire blocks in the business districts. Rare and important. Sold

8. [California]: HISTORY OF NEVADA COUNTY CALIFORNIA.... Oakland: Th- ompson & West, 1880. 234pp., including col- ored map plus eighty-three full-page or double- page lithographs. Oblong quarto. Original half sheep and brown cloth, stamped in blind and gilt, spine gilt. Cloth rubbed and lightly stained, worn at spine ends and corners. Bookplate on front pastedown. A few early leaves are creased and edgeworn. Otherwise the text is very clean and neat internally. Overall, very good. A magnificent illustrated history of Nevada County, California. The wonderful litho- graphs ably show how in just thirty years the area that had been a rough and tumble center of gold rush activity was transformed into a lovely group of communities in the Sierra Nevada foothills. Two of the lithographs relate to the Donner Party disaster (which occurred nearby) and other plates give his- toric representations of the area. The text includes a long and detailed history of the county, with information on gold mining, the Donner Party, biographical information on John Sutter and other leading men of the area, etc. An important visual and historical record of growth and community building in rural northern California in the late 19th century. Scarce and very desirable. Sold Proving the Existence of the Redwood Giants, with a Highly Significant Association

9. [California]: Cherry, Edgar: REDWOOD AND LUMBERING IN CALIFORNIA FORESTS. San Francisco: Edgar Cherry & Co., 1884. [2],107pp. plus twenty-four albumen print photographs, each on an individual thin card mount within a purple printed border, nineteen with purple printed titles, the other five with no printed title, though two of them have titles supplied in manuscript. Quarto. Original purplish-brown cloth, title stamped in gilt on front board. Expertly rebacked, with original backstrip laid down. Lightly worn at extremities. A bit of light soiling, but very clean internally, the pictures especially nice and crisp. A very good copy. Displaying astonishing photographs whose publication surely unsettled an Eastern audience unprepared for the room-size circular saw blades, strange “donkey engines,” and endlessly long logging trains used to harvest the giants, this volume, published to promote the use of “superior” redwood, was illustrated with photographs to prove, where engravings might appear to exaggerate, the enormous growth of the redwood. The photographs are amazing and must have shocked east- ern audiences by showing men standing before redwood trunks thicker than the man is tall. This copy bears an inscrip- tion on the front free endpaper from John Dolbeer, one of the most important mill owners in the California redwood industry. His firm, the Dolbeer and Carson Lumber Company, lasted for ninety years, and his technological innovations – especially the “steam donkey engine” – were used for decades. The photographs in Cherry’s book vary from copy to copy, and it seems clear that Dolbeer had this copy assembled to showcase the operations and innovations of his mill. Ten of the photographs bear an additional note (“D&C”) in Dolbeer’s hand, identifying the image as showing the Dolbeer and Carson operation. Furthermore, another four photographs feature the donkey engine; one photograph identifies the Dolbeer mill in the printed caption; another shows the “Evans Third Saw” in operation at Dolbeer’s mill; another has an additional printed caption showing “Dolbeer’s Patent Logging Engine”; and yet another shows Dolbeer’s “gypsy” engine. All told, twenty photographs in this copy relate to Dolbeer’s mills or his innovations, and Dolbeer’s firm, and his technological innovations are also mentioned several times in the text. $14,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM40181A.html

The two volumes on the preceding page are just a sample of the many illustrated western histories that we have in stock. Oakland When There was a There There 10. [California]: THE ILLUSTRATED DIRECTORY OF OAKLAND, CALI- FORNIA COMPRISING VIEWS OF BUSINESS BLOCKS, WITH REFER- ENCE TO OWNERS, OCCUPANTS, PROFESSIONS AND TRADES, AND BRIEF HISTORY OF THE CITY. Oak- land. 1896. 104,[2]pp. including dozens of illus- trations, with text printed in double columns. Oblong quarto. Original pebbled cloth, title in gilt on front board. Cloth quite worn and torn along hinges and at spine ends and corners. Hinges weak. Titlepage and following three leaves chipped at foredge, fourth leaf creased, else quite clean internally. Good. A marvelous illustrated directory of Oak- land, California, containing scores of photo-engravings depicting several blocks of the bustling city. The first seventy-two pages contain very detailed drawings show- ing downtown Oakland block by block, with a focus on the main commercial streets. Most prominent are Broadway and Washington Street, each shown for several blocks. The buildings are shown in great detail, reproducing store facades and business names. The rest of the text provides a history of Oakland and Alameda County, supplemented by several illustrations, including the Oakland skyline as seen from the tower of the Masonic Temple, boating scenes on Lake Merritt, the shipyard and port, several schools and churches, the county courthouse, the Linda Vista Winery and vineyard, and the University of California at Berkeley. $1250. http://www.williamreesecompany.com/shop/reeseco/WRCAM38388.html

A Miner’s Camp 11. [California Gold Rush]: CABIN AT LITTLE GARROTE – TUOLUMNE CO. CAL. [manuscript caption title]. [Tuolumne County, Ca. ca. 1850s]. Pencil drawing on paper, a 6¾ x 8¼-inch oval on a larger piece of paper. A few very light spots, almost all outside the image. Near fine. Framed and matted. A charming and skillfully executed pencil drawing of a California pros- pector returning to his cabin in the Sierra Nevada foothills. Tuolumne County, which includes the towns of Sonora, Columbia, Twain Harte, and Jamestown, helps make up the heart of the California gold country. The bearded prospector, returning from his day’s work, walks toward the cabin carrying a shovel and pick over his right shoulder and a pan in his left hand. The cabin, built in a clearing, is made of large redwoods, with a roof of flat boards, a chimney, and an at- tached shed. The smoke rising from the chimney, as well as the chickens in front of the cabin and the open door, suggest that the prospector has a companion who is awaiting his re- turn. A unique and accomplished piece of artwork offering an unusual glimpse into the life of a ’49er. $4500. http://www.williamreesecompany.com/shop/reeseco/WRCAM30771.html Gold Rushers Break from “the fierce race for wealth”

12. [California Gold Rush]: [THE GOLD RUSHERS OF BRET HARTE’S POEM, “DICKENS IN CAMP”]. [Np. ca. 1871-1885]. Watercolor and gouache on paper, 21 x 28 inches, in arts and crafts style gilt frame, with a penciled verse from “Dickens in Camp” (probably added at a later date) in the foreground. A few short tears at edges of image, else in excellent original condition. A brightly colored, superbly detailed American folk art painting, inspired by Bret Harte’s tongue-in-cheek remembrance of the California Gold Rush. Harte’s 1854 trip into the California gold mining country afforded him an intimate knowledge of the denizens of the camps. The anonymous artist of this painting perfectly captures the scene of several unlucky gold miners ending their day with a reading from the adventures of the even unluckier beggar girl, Little Nell, in the Charles Dickens novel, The Old Curiosity Shop. This painting, even without the Bret Harte connection, stands on its own as wonderful piece of topographical Western Americana. This is the best artistic interpretation of a Bret Harte literary work that we have seen, easily bettering the staid illustrations in his books. $9000. http://www.williamreesecompany.com/shop/reeseco/WRCAM24698.html Excellent Scenes in the Gold Mines

...With a Manuscript Letter 13. [California Pictorial Letter Sheet]: Hutchings, James M.: THE MINER’S TEN COMMAND- MENTS [caption title]. San Francisco: Sun Print, 1853. 11¼ x 9¼ inches on a folded folio sheet, with an original [3]pp. manuscript letter. Letter dated July 10, 1854 at Mam- moth Grove House, Calaveras County. Old folds. A little staining on the letter sheet. A few instances of tape rein- forcements along the folds. Very good. In a half morocco and cloth folding box, spine gilt. A landmark Gold Rush satire, and the most popular of California pictorial letter sheets. The three-col- umn text of the “commandments” are surrounded by woodcut scenes of each, the illustrations drawn by the talented Harrison Eastman. Of particular inter- est is the cameo appearance at the head of the broad- side by the “elephant,” an important gold rush icon, pointing with his trunk to the commandments posted on a cabin. More often than not, such California pictorial letter sheets are found unused. The present copy is enhanced by a contemporary letter written from the big trees of Calaveras County, making it much more desirable. William Davis, a miner, writes his parents from “Mammoth Grove House” in Calaveras County. He tells his parents that “since we left the tree until I returned here I have been mining...How much I would like to be home myself I won’t tell you now, though I am as fully determined as ever not to return poor. Riches I do not expect but enough for a home and ordinary comforts.” An important California pictorial letter sheet, with an interesting letter from a miner. $2500. http://www.williamreesecompany.com/shop/reeseco/WRCAM42769.html

14. [California Pictorial Letter Sheet]: SPRINGFIELD, TUOLUMNE COUNTY [caption title]. Sonora, Ca.: G.S. Wells, May 1853. Pictorial letter sheet, 7¾ x 10¼ inches. On blue paper. Wear along the lower edge, including a few small holes in the lower margin, not affecting image. Good. An attractive and scarce view of this mining town in the Sierra Nevada foothills. Located on Mormon Creek, Springfield’s mines produced much gold, and in its heyday the town had 600 voters. This view was drawn by George H. Goddard, and lithographed by the San Fran- cisco firm of Britton and Rey. $1250. http://www.williamreesecompany.com/shop/reeseco/WRCAM41284.html Early Outsider Art of an American Indian: A Naive Catlin Copyist 15. [Calyo, Nicolino]: PORTRAIT OF MAH-TO-TOH-PA, CHIEF OF THE MANDAN TRIBE OF THE UPPER MISSOURI [manuscript title]. [New York. ca. 1840]. Watercolor and ink, 14¾ x 10¼ inches. Minor foxing. Very good. Matted. Nicolino Calyo was an Italian-born artist active in New York City from the 1830s to the 1850s. He is best known for his charming naive images of New York street vendors and tradespeople, but he also executed watercolors of a wide variety of topical pieces, generally reacting to current events or popular exhibitions. This portrait after a George Catlin paint- ing was probably done at the time of the exhibition of Catlin’s Indian Gallery in New York in 1838-39. It copies Catlin’s famous image of the Mandan chief Mato-tope. A unique Indian portrait by a popular, rather primitive artist, reflecting both public interest in western Indians and the influence of George Catlin. $7500. http://www.williamreesecompany.com/shop/reeseco/WRCAM21077.html Rare Lithographic View of St. Louis in 1832 by George Catlin 16. Catlin, George: ST. LOUIS IN 1832. FROM AN ORIGINAL PAINTING BY GEO. CATLIN IN THE POS- SESSION OF THE MERCANTILE LIBRARY ASSOCIATION. [St. Louis. 1865-1869]. Handcolored lithograph, after George Catlin. Sheet size: 18 x 23¾ inches. Good condition, apart from some small expert repairs. A rare lithographic view of the early St. Louis riverfront, based on one of the very first oil paintings of a city in the trans- Mississippi West, George Catlin’s 1832-33 oil on canvas, “St. Louis From the River Below.” The print was probably published under the auspices of the St. Louis Mercantile Library to celebrate its acquisition of the painting, circa 1865-69. The actual publisher, lithographer, and printer remain unknown. The well detailed and attractive print depicts “St. Louis, with its terraced foundations, just a decade after it was chartered as a city. The artist has appropriately given prominence to the broad Mississippi, which was the lifeblood of the nascent metropolis. He lets the water dominate more than three-quar- ters of the composition, and he places in full view the odd-looking, high-decked river steamboat specially designed by Henry Miller Shreve for the treacheries of the Mississippi. It was the kind of steamboat piloted by Samuel Clemens [‘Mark Twain’] and so colorfully described by him...The domed structure farthest to the left in the picture is the courthouse, completed in 1830. (Eero Saarinen’s Gateway Arch...today soars directly to the east of this original courthouse)” – Deák, Picturing America. George Catlin was thirty-two years old when he painted this important view of St. Louis, and soon thereafter set out from St. Louis aboard a riverboat with easel, canvas, and oil colors, to seek subjects for paintings of the prairie Indians. A rare and important print of St. Louis, issued in a small number. $25,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM38352.html An Original Manuscript of Catlin’s Suppressed Work... 17. Catlin, George: AN ACCOUNT OF AN ANNUAL RELIGIOUS CER- EMONY PRACTISED BY THE MANDAN TRIBE OF NORTH AMERI- CAN INDIANS [manuscript title]. [Np, but London? ca. 1869]. [47]pp. manuscript. Contemporary black limp morocco, gilt. Corners very lightly rubbed. Contents clean and in a fine, clear hand. In fine condition. In a half morocco clamshell case. A remarkable Catlin manuscript, corresponding very closely to a lecture given by Catlin in London in 1865 describing the Mandan religious ceremony known as the Bull Dance, and other ceremonies more shocking to Victorian sensibilities. Catlin refused to let his lecture be published, but did submit a written version to the Philobiblion Society, which promptly published the work, without Catlin’s approval, in an edition of fifty copies. Catlin publicly disavowed authorship, and demanded the surrender of every copy. Elements of this work were incor- porated into Catlin’s O-Kee-Pa..., published in 1867 (see the following item), with the priapic Bull Dance described only briefly in a rare supplement. This manuscript is a near word-for-word transcription of the unauthorized and ex- ceedingly rare 1865 publication, differing in one notable respect: the manuscript uses the phrase “my public works” while the 1865 printed version says “my published works,” suggesting that this is a copy of Catlin’s original manuscript, not one of the printed copies. The manuscript is also notable for its calligraphy (not in Catlin’s hand), which is identical to that found in the labels of Catlin’s later Album Uniques, the commissioned collections of drawings he made for a few clients. Given the elegant nature of the manuscript, and its fine binding, it seems most likely that this manuscript was made for private circulation, perhaps to an owner of one of the albums. As the printed account is so very rare, and given the controversy at the time of its appearance in 1865, it is not surprising that a fine manuscript copy such as this would have been prepared. $22,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM41844.html

...and the Published Edition 18. Catlin, George: O-KEE-PA: A RELIGIOUS CER- EMONY; AND OTHER CUSTOMS OF THE MANDANS. Philadelphia: J.B. Lippincott, 1867. vii,52pp. including half title, plus thir- teen full-page color plates depicting the Mandan Torture Ceremony. Half title. Quarto. Modern half morocco over marbled boards, spine gilt, leather label. Original fly leaf and half title chipped at upper corner. Text lightly tanned, plates clean. A very good copy. First American edition, actually the same sheets and printing as the London edition of the same year, but with a cancel titlepage. Catlin spent some fourteen years among the various North American Indian tribes and left the most authentic anthropo- logical record of an already vanishing people. He wrote O-Kee- Pa... in response to an article appearing in an 1866 issue of Truebner’s monthly catalogue. The article attributed to Catlin the authorship of an “indescribably lascivious pamphlet” on the secret customs of the Mandans (see the previous item). O-Kee- Pa... is as much a defense of Catlin as of the Mandans, a tribe who were mostly found on the west side of the Missouri River, most of whom were destroyed by a smallpox epidemic in 1837. Catlin states in his preface that of all the numerous customs which he had recorded, nothing was so peculiar and surprising as the O-kee-pa ceremony of the Mandans, shown in startling fidelity in the thirteen outstanding color plates. $14,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM36417.html Waiting for the Mail in San Francisco, 1850 19. Cox, H.F.: POST OFFICE, SAN FRANCISCO, CALIFORNIA. A FAITHFUL REPRESENTATION OF THE CROWDS DAILY APPLYING AT THAT OFFICE FOR LETTERS AND NEWSPAPERS. New York: William Endicott & Co., [nd, ca. 1850]. Lithograph, printed in black and a gray tint by Wm. Endicott & Co. after Cox. Image measures 11½ x 16 inches on a 16 x 20-inch sheet. Very good. A fine gold rush image, being a semi-humorous depiction of the early post office at Pike and Clay streets. The Post Office has four entrances, one of which is apparently for Spanish speakers, a second for general delivery, a third for box deliv- ery, and a fourth at the side for newspaper delivery. All four have a long, snaking line attached to them, while those who have achieved their objective or who are too impatient to queue mill about in the area around the post office not taken up by the lines. Boredom, bad temper, or line jumping has precipitated at least one fight. The building next to the of- fice is identified as the Garret House, which burned down in February 1856, having been one of the oldest frame build- ings in the city. Little is known of the artist, H.F. Cox, and this is the only work by him mentioned by Peters in Califor- nia on Stone. Sold The Streeter Copy, in Original Boards 20. Dixon, George: A VOYAGE ROUND THE WORLD; BUT MORE PARTICULARLY TO THE NORTH-WEST COAST OF AMERICA: PERFORMED IN 1785, 1786, 1787, AND 1788, IN THE KING GEORGE AND QUEEN CHARLOTTE, CAPTAINS PORTLOCK AND DIXON.... London: Published by Geo. Goulding..., 1789. xxix,[3],360,47pp. plus seventeen plates (three folding) and five folding maps. Half title. Quarto. Original boards, paper label. Front hinge starting but held strong by cords. Internally crisp and clean. Contemporary ink signatures on titlepage. A fine copy, in original state, untrimmed. In a half morocco and cloth box. Thomas W. Streeter’s copy of one of the most important and basic early Northwest Coast voyages. The plates show the natives and natural history of the region, and all of the maps and charts are of either the Northwest Coast or Hawaii. Dixon had sailed with Cook on his third voyage, and endeavored on this expedition to map more accurately the northwestern coast of America than had been possible when he sailed with Cook. Included is an appendix on the natural history observations made during the voyage, and the whole work relates much valuable geographic and ethnologic information about the American coast from Nootka Sound northward, with a plate illustrating a traditional Indian song sung by the natives of Norfolk Sound. The text consists largely of letters composed by William Beresford, super-cargo aboard the Queen Charlotte. Much important exploratory work was undertaken, including the discoveries of Queen Charlotte Island, Port Mulgrave, Norfolk Bay, and Dixon Entrance and Archipelago. $9500. http://www.williamreesecompany.com/shop/reeseco/WRCAM225G.html The Rare Illustrated Edition 21. Gass, Patrick: JOURNAL OF THE VOYAGES AND TRAVELS OF A CORPS OF DISCOVERY, UNDER THE COMMAND OF CAPT. LEWIS AND CAPT. CLARKE [sic]...DURING THE YEARS 1804, 1805, AND 1806.... Philadelphia: Printed for Mathew Carey, 1811. 262pp. plus six plates including frontispiece. 12mo. Contemporary tree calf, spine gilt, gilt morocco label. Very minor wear along hinges and edges. Some very light tanning and foxing, but a beautiful copy, in original condition. Third American edition, after the first of 1807, of the first published firsthand account of the Lewis and Clark expedition. The illustrations, first published by Mathew Carey in an edition issued in two states the previous year, are evidently based on the observations of a member of the party, and are the only extant illustrations of the famous journey. The illustrations show the explorers meeting with Indians (sometimes peacefully, sometimes hostilely), as well as hunting expeditions and canoe voyages. Gass was a sergeant who was charged, by order of Lewis and at the insistence of Jefferson, with keeping a jour- nal, and this book seems closely based on that document. His account is one of the essential books for a Western Americana collection. This edition, based on the experience of several veteran dealers, is the rarest. Sold

The Gass journal, as well as the works by Heap and James which follow on this list, are just a sampling of the several illustrated narratives of western travel that we have available. With the Elusive Map 22. Heap, Gwin Harris: CENTRAL ROUTE TO THE PACIFIC, FROM THE VALLEY OF THE MISSISSIPPI TO CALIFORNIA: JOURNAL OF THE EXPEDITION OF E.F. BEALE...IN 1853. Philadelphia. 1854. 136pp. plus thirteen lithographed plates (some tinted) and 46pp. of ads, and a folding map. Half title. Original cloth, stamped in blind. Cloth faded, neatly rebacked with original spine laid down. Map neatly backed by lightweight linen. Small tear in lower edge of front free endpaper. An occasional light fox mark, but quite clean internally. Very good. In a cloth slipcase. The published accounts of the government-sponsored or privately funded overland expeditions of the 19th century pro- duced a wealth of images of the great American West. This book is one of the first detailed examinations of the “Cen- tral Route” from Missouri to the Pacific, and a basic piece of Western Americana. The handsome lithographic plates show views along rivers, of mountain passes, and of sweeping valleys. E.F. Beale and Gwin Heap were greatly influenced by Senator Benton in their choice of a route across Colorado and Nevada. The party travelled from Westport (Kansas City) south- west on the Santa Fe trail to Bent’s Fort, then to the short-lived Fort Massachusetts, the Rio Grande Valley, the Grand River, and then to the Uncompahgre. They returned to Taos for supplies, and then continued southwest via Utah to California. The map, which is present here, was issued with only a few copies and is lauded by Carl Wheat, who says that it has re- ceived less attention than it deserves. He notes that it is the earliest published map to show the middle Rocky Mountain region, through what is now southern Colorado, the first to depict several streams and rivers, and the first attempt to chart a route through Death Valley. This copy bears the ownership signature of bookseller and Mexican boundary surveyor John Russell Bartlett on the titlepage. $6500. http://www.williamreesecompany.com/shop/reeseco/WRCAM373H.html One of the Earliest and Most Important Western Expeditions 23. James, Edwin: ACCOUNT OF AN EXPEDITION FROM PITTSBURGH TO THE ROCKY MOUNTAINS, PERFORMED IN THE YEARS 1819 AND ’20...UNDER THE COMMAND OF MAJOR STEPHEN H. LONG. Philadelphia: H.C. Carey and I. Lea, 1822-1823. Two octavo text volumes plus quarto atlas. Text: [4],5,[2],503; [6],442,xcviii pp. Atlas: two double-page engraved maps after S.H. Long by Young & Delleker; double-page plate of geological cross-sections; eight engraved plates (one handcolored). Expertly bound to style in uniform half calf over contemporary marbled paper-covered boards, raised bands, red morocco labels. Very good. First edition of a cornerstone work of Western Americana and American cartography, complete with the rare atlas. James’ account of the Long Ex- pedition to the Rockies deservedly ranks alongside the narratives of Lewis and Clark and Pike as the most important early exploratory narratives of the American West. Long’s was the first official U.S. expedition to be accompanied by artists – namely Titian Peale and Samuel Seymour – and the illus- trations in the atlas are an important early visual record of the area. The plates depict Oto Indians, views of the Plains, buffalo, and much more. The atlas contains the first maps to provide detail of the Central Plains. The illustration of the buffalo robe is the first color plate to appear in an Ameri- can exploration narrative. Originally named the “Yellowstone Expedition,” the U.S. government expedition under Major Stephen Long was the most ambitious exploration of the trans-Mississippi West following those of Lewis and Clark and Zebulon Pike. It travelled up the Missouri and then fol- lowed the River Platte to its source in the Rocky Mountains before moving south to Upper Arkansas. From there the plan was to find the source of the Red River, but when this was missed, the Canadian River was explored instead. Edwin James was the botanist, geologist, and surgeon for the expedition and based this work on his own records and those of other members of the expedition. $27,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM41873A.html Magnificent Plates of the Mexican War 24. Kendall, George Wilkins, and Carl Nebel: THE WAR BETWEEN THE UNITED STATES AND MEXICO ILLUSTRATED.... New York & Philadelphia: Plon Brothers of Paris for D. Appleton & Co. and George S. Appleton, 1851. iv,52pp. Twelve fine handcolored lithographic plates, heightened with gum arabic. Engraved map. Expertly bound to style in dark red half morocco over contemporary marbled paper-covered boards, the upper cover with contemporary large dark red morocco label with title within a decorative gilt border. Very good. These grandly detailed and colored prints represent one of the most important pictorial works relating to the Mexican- American War, and are considered by many connoisseurs of battle art to be the very best American combat scenes in ex- istence. The plates were executed by Bayot after drawings made by Carl Nebel at the actual battle sites, and lithographed by Lemercier of Paris. The images are titled as follow: 1) “The Battle of Palo Alto”; 2) “The Capture of Monterey”; 3) “The Battle of Buena Vista”; 4) “The Bombardment of Veracruz”; 5) “Battle of Cerro Gordo”; 6) “The Assault at Contreras”; 7) “The Battle at Churubusco”; 8) and 9) “The Battle of Molino del Rey”; 10) and 11) “The Storming of Chapultepec”; and 12) “General Scott’s entrance into the City of Mexico.” The battles are de- scribed in text written by George Kendall. A rare complete set of these important Mexican War scenes. Sold The Siebert Copy 25. Le Page du Pratz, Antoine: HIS- TOIRE DE LA LOUISIANE.... Paris: Chez de Bure [et al], 1758. Three volumes. xvi,358; 441; 451,[3]pp. plus forty engraved plates, two folding maps, folding plan, and er- rata. Half title in each volume. 16mo. Con- temporary mottled calf, spine richly gilt. A beautiful, fresh, fine set. This work is one of the earliest illustrat- ing the vast area known as “Louisiana” based on the observations of one who had actually resided there for a length of time. Thomas Jefferson valued the work so highly that he instructed Lewis and Clark to take an edition of the book on their expedition. The delightful engraved plates show Indians, animals, plants, trees, fish, birds, reptiles, and much more. Le Page du Pratz affords a great deal of useful information on the Natchez and other Mississippi tribes, and his work as a whole has been the basis for many later studies of the period. There is a folding plan of New Orleans and a “Carte de la Louisiane” which shows a large eastward-flowing Missouri. $5750. http://www.williamreesecompany.com/shop/reeseco/WRCAM1022A.html

Beautiful Views of the Mississippi 26. Lewis, Henry: DAS ILLUSTRIRTE MISSISSIPPITHAL...VOM WASSERFALLE ZU ST. ANTHONY AN BIS ZUM GOLF VON MEXICO. Dusseldorf. [1854-1855]. 136pp., being the first section of the 431-page complete work. The present copy has twenty-four color plates. Quarto. Contemporary brown cloth, blindstamped covers, rebacked, original gilt backstrip laid down. Scattered foxing, but the plates remain clean and bright. Very good. One of the half-dozen great and rare illustrated books relating to North America. Lewis travelled along the Mississippi from Minnesota to New Orleans in 1847 and 1848, making numerous sketches and watercolors of the scenery on and along the river. His goal was to produce a painted panorama of the river, but when he retired to his native Germany, he pro- duced the present work to give Ger- man emigrants a better idea of America. While Lewis’ written ob- servations are also of interest, it is his depictions of the valley of the Mis- sissippi at mid-century that are re- markable. This book was originally issued in twenty parts, and the present volume, in a contemporary cloth binding, consists of the first six parts, roughly the first quarter, of the entire book. For those interested in the Upper Mississippi, it is a desir- able format, since Lewis’ views begin at the source of the river and continue downstream, and include views of St. Paul, the famous falls at St. Anthony (later Minneapolis), and Fort Snelling, sitting high on the bluffs of the Mississippi. $9500.

http://www.williamreesecompany.com/shop/reeseco/WRCAM29217.html The Basis for a Currier & Ives Lithograph: The West of the Imagination

27. [Maurer, Louis]: THE SURPRISE. [New York. 1858]. Oil on canvas, 25½ x 35½ inches. Unsigned. In excellent condition, recently professionally conserved. In a “Hogarth” style wooden frame. A quintessential western scene, showing a buckskin clad frontiersman mounted on a galloping horse pursuing an Indian warrior, also mounted on a galloping (but failing) horse. The painting is the basis for the large folio Currier & Ives print, “The Surprise,” published in 1858. The painting, and the print following it, are excellent examples of a popular genre of frontier images created by or for Currier & Ives in the antebellum period. Louis Maurer, a German emigrant who went to work for Currier & Ives in 1851 at the age of nineteen, spent eight years with the firm, painting original works and working as a lithographer. Maurer was only at the beginning of an extraordinary career; he lived to be one hundred and was Harry T. Peters’ primary source of information for his landmark work on Currier & Ives. Peters gives an affectionate biogra- phy of him, and comments: “One of the very disconcerting pieces of knowledge imparted by Mr. Maurer is the fact that, at the time they were doing their work for Currier & Ives, neither he nor Mr. Tait had first-hand knowledge of the In- dians. His first real knowledge was gained when Mr. Ives took him to the Astor Library and showed him Prince Maximilian of Wied’s book on the Indian, illustrated by Bodmer (see item 6 in this Bulletin). They both made a very close study of this volume....” It is most unusual to encounter the original artwork for Currier & Ives lithographs. A fine example of the West of the imagination. $27,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM23447.html First Edition of the Octavo McKenney and Hall 28. McKenney, Thomas L., and James Hall: HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA.... Philadelphia: J.T. Bowen, 1848/1849/1850. Three volumes. 120 handcolored lithographed plates, many heightened with gum arabic. Con- temporary red morocco, embossed panels, spines gilt, gilt inner dentelles, neatly rebacked with original spines laid down, a.e.g. Light scattered toning and foxing. Very good. In a cloth slipcase. The first octavo edition of McKenney and Hall’s classic work, one of the most important visual galleries of American Indians. This octavo edition, which followed a folio edition of 1836-1844, was reprinted many times, but this first edition is by far the best for quality of printing and coloring of the plates. The 120 plates are after original paintings (mostly by Charles Bird King) that were in the possession of the Department of War, and the text was written by Illinois journalist James Hall. The entire project was conceived and supervised by Thomas McKenney, chief of the Office of Indian Affairs. A cornerstone of American Indian iconography. $30,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM41447A.html Magnificent Views of the Grand Canyon 29. [Moran, Thomas, and William Henry Holmes, illustrators]: Dutton, Clarence E.: TERTIARY HISTORY OF THE GRAND CAÑON DISTRICT.... [with:] ATLAS TO ACCOMPANY THE MONOGRAPH ON THE TERTIARY HISTORY OF THE GRAND CAÑON DISTRICT. Washington: [text:] Government Printing Office, [atlas: Julius Bien & Co. of New York (for the Government Printing Office)], 1882. Two volumes. Text: “Department of the Interior...Geological sur- vey” title. Forty-two plates, plans and maps (ten double-page). Atlas: Mounted on guards throughout. 1p. letterpress text, otherwise lithographed throughout. Title, twelve double-page map sheets after Dutton (eleven printed in colors), ten double-page sheets of views (five chromolithographed and five printed in tints). Quarto text and folio atlas. Expertly bound to style in deep burgundy morocco over contemporary marbled paper-covered boards, spine gilt and with raised bands. Very good. A fine set of “one of the grandest publications of the scientific expeditions in the American West...[depicting] the Grand Canyon in a series of magnificent panoramas” (Reese & Miles, Creating America). The work includes illustrations by ar- guably the two greatest American topographical artists to record this era of westward expansion: William Holmes and Thomas Moran. The atlas includes eight beautifully executed maps of the region on twelve sheets, as well as the ten sheets of views. The views include a number of images that are designed to form larger continuous panoramas. The greatest of these is Holmes’ view from Point Sublime in the Kaibab: the three chromolithographed sheets, if joined, would form a single panoramic view with an image area measuring approximately 17 x 90 inches. The team assembled to carry out this geological sur- vey of the Grand Canyon included some outstanding talents: C.E. Dutton, the scientist; Jack Hilliers, the photographer; and Holmes and Moran as artist-topographers. William Goetzmann calls W.H. Holmes “the greatest artist-topographer and man of many talents that the West ever produced...his artistic technique was like no other’s...His illustrations for Dutton’s Tertiary History of the Grand Canyon District are masterpieces of realism and draftsmanship as well as feats of imaginative observation.” $17,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM36493.html An Extraordinary Collection of Original Buffalo Bill Art

30. [Prowse, Robert]: [Buffalo Bill]: [COLLECTION OF SEV- ENTY-ONE PIECES OF ORIGINAL COVER ART FOR THE BUFFALO BILL NOVELS MAGAZINE SERIES]. [Np, but possi- bly London. 1918-1932]. Seventy-one original painted illustrations, done in watercolor and gouache, each measuring about 14 x 11 inches. Some light soiling and chipping around the edges, but images generally bright and clean. Overall, very good. A remarkable and beautiful collection of original cover art for the Buffalo Bill Novels, a British boys’ pulp magazine published from 1916 to 1932 by the Aldine Publishing Company in London. These illustrations are all signed by Robert Prowse (“R.P.”), who did artwork for this and other similar projects; some are dated below his initials. The series ran for 342 issues, though the last cover in this collection is for No. 344, possibly an unpublished issue, as we could find no trace of this title associated with the Buffalo Bill Novels. Despite its name, the stories were not always about Buffalo Bill, though they were always set in the Old West and feature plenty of cowboys and Indians. Along with the scenes pictured above, other covers illustrate stories such as “The Tigress of Texas”; “Pirates of the Prairie”; “The Outlaw King of the Overland”; and “The Ghost of the Colorado.” A unique assemblage of iconic western imagery. $55,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM40717.html Overland Traction Engine 31. Robinson, Asa P., and Edward Warner: OVERLAND TRACTION ENGINE COM- PANY. TRANSPORTATION BY STEAM FROM MISSOURI RIVER TO THE ROCKY MOUNTAINS. Boston: Wright & Potter, Printers, 1865. 61pp. plus two plates and folding map. Narrow quarto. Original wrappers. Titlepage chipped on bottom and foredge. Map cleanly torn, affecting one inch of im- age; also cleanly separated along one fold. Moderate dampstaining throughout. A good copy. In a half morocco box. A scarce privately circulated prospectus setting forth the optimistic plan of the Overland Traction Engine Company to haul freight and passengers overland aboard steam traction engines from the Missouri River to the Rockies. The plates, lithographed by Prang & Co., show two views of the engine - one encased, the other uncovered. This was a fabulous idea at a time when supplies were routinely carried hundreds of miles over the plains entirely by mule and cattle trains. In the end, however, the plan was a bit short on execution. The engine weighed fifty-four tons when fully loaded with fuel and bogged down in mud on its first trial. The folding map illustrates the prospective route west from Nebraska City. $3500. http://www.williamreesecompany.com/shop/reeseco/WRCAM36471.html

Superb Saint-Mémin Portrait of a Major Louisiana Figure 32. Saint-Mémin, Charles B.J.F. de: [CHALK PROFILE PORTRAIT OF THOMAS BOLLING ROBERTSON]. Richmond. 1807. 17¾ x 11½ inches. Drawing, executed on the pink drawing paper typically used by St. Mémin. The profile portrait is mounted on a later sheet of paper in the 19th century. Small closed tear through the subject’s nose, three longer tears through his face, meeting in his cheek, but with no loss, expertly conserved. A con- servation report and before and after photographs are available. In later wood frame with eglomized glass (26¼ x 20¾ inches) matching the style typically used by St. Mémin. A superb portrait by the well known French-American artist, Charles Saint-Mémin, of future Louisiana governor Thomas Bolling Robertson. Saint-Mémin immigrated to the United States from France in 1793, taught himself the techniques of engraving and drawing, and in 1796 began making pro- file portraits with a physiognotrace. Over the next fourteen years he travelled throughout the United States, making pro- file portraits of many of the leading figures of the day, from Presidents down. Thomas Bolling Robertson (1779-1828) sat for a portrait by Saint-Mémin in 1807. Born in Vir- ginia, he graduated from William & Mary and then studied law. He was appointed by Thomas Jefferson as Secretary for the Territory of Orleans, and moved to New Orleans in 1807, probably very shortly after this portrait was made. He was elected as the first Congressman from Louisiana in 1812 and served until 1818, after which he became the state’s third governor, serving from 1820 to 1824. A wonderful American portrait, by an artist whose distinctive style was in great demand, of a major figure in early Louisiana. $22,500. http://www.williamreesecompany.com/shop/reeseco/WRCAM40621.html Vast Compilation on the American Indian 33. Schoolcraft, Henry R.: HISTORICAL AND STATISTICAL INFORMATION RESPECTING THE HISTORY, CONDITION, AND PROSPECTS OF THE INDIAN TRIBES OF THE UNITED STATES.... Philadelphia: Lippincott, 1851-1857. Six thick folio volumes. Numerous plates and maps, many tinted or in color. Uniformly bound in half green morocco, raised bands, and marbled boards, stamped in gilt. Light tideline throughout sixth volume. Other volumes clean and neat internally. Fourth and sixth volumes with presentation inscriptions from the Acting Commissioner of Indian Affairs on front endpapers. A very good set in a handsome modern binding. The first edition of this massive work, one of the most important concerning American Indians, a foundation stone of ethnological studies in America, and by far the most extensive single work on native Americans issued in the 19th century. Schoolcraft, the general editor, was Commissioner of Indian Affairs for many years, and so in an unparalleled position to assemble the immense amount of data in these volumes. This includes Indian vocabularies, biographies, captivity narratives, and studies of tools, artifacts, and weapons. The 336 illustrations include steel engravings by Seth Eastman, and one of the largest groups of color plates to appear in any American book up to this date. $20,000.

http://www.williamreesecompany.com/shop/reeseco/WRCAM25806E.html With Numerous Lithographic Views in California 34. Seyd, Ernest: CALIFORNIA AND ITS RESOURCES. A WORK FOR THE MERCHANT, THE CAPITALIST, AND THE EMIGRANT. London: Trubner and Co., 1858. [4],168,[1]pp., plus eighteen plates (seven colored or tinted, one folded), two folding maps, and ads. Tinted lithographic frontispiece. Original black pebbled cloth, stamped in gilt and blind, spine gilt. Cloth quite rubbed, worn at spine ends, corners bumped. Internally fresh and clean. Overall, very good. One of the best early surveys of the natural resources of California, with a wonderful series of lithographed plates, including the earliest views of Yosemite to be published in a book. Seyd’s book is emblematic of the sort of promotional work popular in the second half of the 19th century which sought to entice people to come to the West not only in search of fast riches, but to start a new life. This is a thorough and lively work on California, with much on the state’s natural resources, history, and economy, as well as its gold fields and agricul- tural prospects. The tinted frontispiece showing Yosemite Falls and another tinted plate showing Yosemite Valley were derived from sketches made in 1855, and appear to be the first views of Yosemite Valley to be published in a book. Other illustrations show buildings in San Francisco, forest scenes, and mining operations. One map shows all of California, while the other shows several routes to California from England and Europe, including overland from New York or New Orleans, across the Isthmus of Panama, or around the Horn. $2250. http://www.williamreesecompany.com/shop/reeseco/WRCAM38383.html

Seyd’s book is one of several such western promotional works that we have in stock. One of the Greatest Western Color Plate Books 35. Warre, General Sir Henry James: SKETCHES IN NORTH AMERICA AND THE OREGON TERRITORY. BY CAPTAIN H. WARRE, (A.D.C. TO THE LATE COMMANDER OF THE FORCES). [London]: Dickinson & Co., [1848]. Twenty handcolored lithographed views on sixteen sheets, by Dickinson and Co., after Warre. Lithographic map, handcolored in outline with routes marked in red and blue. Folio. Contemporary green half morocco over green pebble-grained cloth-covered boards, titled in gilt on front cover, spine tooled in gilt, and a large centered lettering panel titled in gilt. Near fine. In a half morocco and cloth box. First edition, handcolored issue of a work which contains the “only western color plates comparable in beauty to those by Bodmer” (Howes). This is evidently a family copy, inscribed on the upper right corner of the inside front board: “H. Warre, Fyne Court, Bridgewater.” Captain Warre left Montreal on May 5, 1845, initially accompanying Sir George Simpson, governor of the Hudson’s Bay Company, who was making a tour of inspection of the Company’s outposts. The background to Warre’s journey was semi-official and semi-secret: he was to undertake what amounted to a military reconnaissance of Oregon Territory. American expansionists were making it clear that the uneasy joint occupation of Oregon by the United States and Great Britain was not equitable and were demanding that a northernmost frontier be established. Warre was sent to gather information that would be of use in the negotiations. His secret mission produced an artistic masterpiece, and a beautiful series of views of the American West before it was touched by civilization. Included are views of Fort Garry; scenes on the journey across the Rockies; and views of Mount Hood, along the Wilamette and Columbia rivers, and of Vancouver Island and along the Pacific Coast. In all, Warre spent more than a year travelling throughout the West, leaving as his monument this breathtaking work. It was initially offered in colored and uncolored issues – this copy has beautiful original color. $160,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM36893A.html How the Budweiser Made It to the Frontier 36. [Western Advertising Art]: Berninghaus, Oscar E.: [SET OF FIVE CHROMOLITHOGRAPHIC ADVER- TISEMENTS ISSUED BY ANHEUSER-BUSCH BREWING COMPANY, FEATURING WESTERN WAGON TRAINS, INDIAN ATTACKS, AND OTHER SCENES]. St. Louis: Anheuser-Busch Brewing Association, [nd, ca. 1914-1915]. Five chromolithographs, each image measuring 7½ x 16 inches and printed on sheets measuring 11½ x 20 inches. Sheets with some light wear along the edges, one with two very small closed tears. Overall in very good condition. A rare group of five advertising chromolithographs commissioned by the Anheuser-Busch company to sell beer, wonderfully illustrating the adventure and dangers inherent in the 19th-century American West. The chromolithographs are fine examples of the development of the “West of the Imagination” and the use of American history for commercial purposes. Anheuser-Busch was a leader in appropriating American history images for commercial purposes, most notably through their famed Custer’s Last Fight poster of the 1890s. In the early 1910s they commissioned native St. Louis artist O.E. Berninghaus to create the present group of images. The chromolithographs in this set are wonderfully evocative scenes of the American West, each of them featuring strategically placed kegs and crates of beer. The titles of the scenes include “Westward Ho!”; “The Father of Waters”; “A Fight for the Overland Mail”; “Attack on an Emigrant Train”; and “The Relief Train.” $4750.

http://www.williamreesecompany.com/shop/reeseco/WRCAM39419.html Important Lithographic Views of West Texas 37. Whilldin, M., comp.: A DESCRIPTION OF WESTERN TEXAS, PUBLISHED BY THE GALVESTON, HARRISBURG & SAN ANTONIO RAILWAY COMPANY, THE SUNSET ROUTE. Galveston: Printed at the “News” Steam Book & Job Office, 1876. [4],120pp. plus twenty-six lithographic plates (including frontispiece) of a usual complement of twenty-seven plates. Colored map on verso of front wrapper, and folding map (15 x 19 inches) tipped to recto of rear wrapper. One plate lacking, but apparently never bound in. Original colored illustrated wrappers. Covers moderately soiled, front cover slightly separating from spine at top and bottom, bottom one-inch of spine chipped (paper still present). Clean tear in folding map repaired with tissue. Bottom two inches of pp.113-114 removed (affecting text on both pages), evidently to correct an error. A very good copy. In a half morocco and cloth clamshell box, gilt label. An extensively illustrated guide for prospective immigrants to Western Texas. The text provides descriptions of the cities, towns, and coun- ties of western Texas, complemented by additional information of in- terest for those considering a move to the region. The black and white lithographic plates are primarily views of cities and towns, with some rural scenes as well. The images of settled areas include Galveston, Weimar, Flatonia, Gonzales, New Braunfels, San Antonio, and various missions. A large part of the book is devoted to San Antonio, with views of the town and several of the missions, including the Alamo, and the latter part of the book describes various parts of Texas west of San Antonio. Executed in an accomplished, understated style, the lithographs serve as a marvellous invitation to the region. $10,000. http://www.williamreesecompany.com/shop/reeseco/WRCAM38290.html

Wonderful Chromolithographic Views 38. Wickson, Edward J.: CALIFORNIA ILLUSTRATED, NO. 1. THE VACAVILLE EARLY FRUIT DISTRICT OF CALIFORNIA. San Francisco: California View Publishing Company, 1888. viii,166,[2]pp., plus thirteen chromolithographic plates. Large oc- tavo. Original printed grey wrappers. Wrappers a bit soiled. Bookplate on verso of titlepage. Quite clean and fresh internally. Very good. In a cloth slipcase. A little-known but marvelously il- lustrated and informative work on the agricultural qualities and po- tential of California, particularly the area around Vacaville, in Solano County. The attractive chromolithographs are after pho- tographs by William Nutting, and were designed to give an accurate, realistic view of the region. The text is a lengthy consideration of the history, flora, and fruit-grow- ing potential of the Vacaville area, Suisun Valley, Winters, and other locales. $2000. http://www.williamreesecompany.com/shop/reeseco/WRCAM42395.html With a Wonderful Drawing of a Conestoga Wagon Setting Out to the Rockies 39. Wilson, William: [TWO AUTOGRAPH LETTERS, SIGNED, FROM WILLIAM WILSON TO HIS FAMILY IN SCOTLAND OUTLINING HIS UPCOMING OVERLAND TRIP AND HIS EVENTUAL SETTLING]. St. Louis & Iowa. April 3, 1843 & April 17, 1848. 6pp., each letter docketed on verso of second leaf. Quarto, on a folded folio sheet. Old fold lines. First letter reinforced at a few folds. Some minor loss to sections of folds on second leaf, not affecting text. Minor soiling. Second letter with slight loss at a few folds, affecting a few letters of text. Some light staining and soiling. Very good. A wonderful pair of autograph letters from Scottish emigre William Wilson written to his mother and brother back in Glasgow. In the first letter, dated April 23, 1843, Wilson relates his plans for the next year and a half, working as a carpenter for the American Fur Company traveling up the Missouri River and into the Rocky Mountains. At the top of the letter is a charming drawing of a man driving six oxen pulling a Conestoga wagon. Rich in small details, the sketch also depicts a gravestone by the side of the trail, a familiar sight to travelers on the Great Plains. The second letter is dated Sept. 17, 1848 and is addressed from Richland Township in Jackson County, Iowa. Wilson, now married and a wheat farmer, regrets that he has not been able to pull together the funds to bring his mother and brother over from Scotland. The wet weather of the past year has caused wheat rust, ruining the crops and greatly affecting Wilson’s finances. Letters from the Overland Trail in 1843 are of great rarity, and those illustrated with such an iconic scene are rarer still. $8750. http://www.williamreesecompany.com/shop/reeseco/WRCAM42048.html Jesse James with Some New Gang Members 40. [Wild West Show Poster]: W.I. SWAIN’S WESTERN SPECTACULAR PRODUCTION JESSE JAMES. “THIS MONEY BELONGS TO ME.” Newport, Ky.: The Donaldson Litho. Co., [ca. 1920]. Chromolithographic poster, 27½ x 41 inches. A few instances of expert repair or in-painting. Very good. Backed on linen. An attractive poster advertising a popular touring western show, this one featuring Jesse James – who in this portrayal has an African-American as a member of his gang. The illustration shows the calamitious end of a card game in a saloon. Jesse James has drawn on his opponent, both of whom have risen from their seats at the table. One man flies through a nearby door, while another crashes out through a window. Two of Jesse’s confederates have also drawn their guns, including a black man who has pistols in both hands, pointed at two men behind the bar. A black woman kneels atop the bar holding a straight razor, and it is unclear whether she is part of the James gang. Colonel W.I. Swain was one of the most successful tent showmen in the South. He often toured a minstrel show, putting on a different performance every night for a week. This poster is an excellent example of how western lore had been fully incorporated into popular entertainment by the early 20th century. Sold

Our recent catalogues 277 and 278 list hundreds of important printed and manuscript accounts of the American West, and material relating to world trade in the age of globalization.

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