Donald Heald Rare Books A Selection of Rare Books & Manuscripts

Donald Heald Rare Books A Selection of Rare Books & Manuscripts

Donald Heald Rare Books 124 East 74 Street New York, New York 10021 T: 212 · 744 · 3505 F: 212 · 628 · 7847 [email protected] www.donaldheald.com Boston Book Fair 2016

Americana: Items 1 - 28 Travel & Voyages: Items 29 - 46 Natural History: Items 47 - 68 Color Plate and Illustrated: Items 69 - 95 Miscellany: Items 96 - 100

All purchases are subject to availability. All items are guaranteed as described. Any purchase may be returned for a full refund within ten working days as long as it is returned in the same condition and is packed and shipped correctly. !e appropriate sales tax will be added for New York State residents. Payment via U.S. check drawn on a U.S. bank made payable to Donald A. Heald, wire transfer, bank dra", Paypal or by Visa, Mastercard, American Express or Discover cards. AMERICANA

" AMERICAN ANTI-SLAVERY SOCIETY - William Lloyd GARRISON; and others.

Declaration of the Anti-Slavery Convention. Assembled in Philadelphia December 4, 1833. [Philadelphia]: Merrihew & Gunn, [1833]. Broadside. Woodcut illustration at head of broadside by R. S. Gilbert, depicting Hercules strangling the Nemean lion, with Biblical verses concerning slavery on either side. Main text in two columns, surmounting sixty signatures in type from the male delegates to the convention (including William Lloyd Garrison, Joshua Co!n, John G. Whittier, Lewis Tappan, James Mott and others), all within an ornamental border. Linen-backed at an early date. !e founding of the "rst national organization dedicated to promoting immediate emancipation.

In 1833, abolitionist leaders from ten states met in Philadelphia to create a national organization to bring about immediate emancipation of all slaves. Among the !rst actions taken by the group was the dra"ing of a Declaration to outline their cause. Largely written by Garrison, the December 6, 1833 Declaration is a manifesto, advocating the formation of a national anti-slavery society and enumerating its goals, including the immediate emancipation of all slaves. #e declaration pledged its members to work for emancipation through non-violent actions of “moral suasion,” or “the overthrow of prejudice by the power of love.” #e society encouraged public lectures, publications, civil disobedience, and the boycott of cotton and other slave-manufactured products. Signi!cantly, the preamble of this Declaration links the cause of the Founding Fathers with that of the abolitionists, a theme eagerly adopted by Lincoln in his speeches leading to the Civil War. Whittier would later write: “I set a higher value on my name as appended to the Anti-Slavery Declaration of 1833, than on the title- page of any book.”

Reilly, American Political Prints 1833-15; c.f. Harwell, !e Touchstone: William Lloyd Garrison and the Declaration of the Anti-Slavery Convention,Philadelphia, 1833 (Northhampton: 1970).

(#32203) $ 4,800

' AMERICAN REVOLUTION - FADEN, William (1750-1836).

!e Attack and Defeat of the American Fleet under Benedict Arnold, by the Kings Fleet Commanded by Sir Guy Carleton, upon Lake Champlain, the 11th of October 1776.

London: William Faden, 3 December 1776. Engraved map, with the course of the British Fleet coloured in red, letterpress text below the image. Sheet size: 19 x 24 1/4 inches. Minor restoration to centerfold.

!e exceedingly rare, and perhaps suppressed, "rst edition of Faden’s battle plan of the Battle of Valcour Island, one of the rarest of all printed battle plans for the American Revolution: this an unrecorded issue with explanatory text giving an account of the battle.

Faden’s plan is the de!nitive cartographic record for Benedict Arnold’s engagement with the British %eet at Valcour Island on Lake Champlain. #e engagement was the high point in Benedict Arnold’s military career, later becoming the most famous traitor of the Revolution. Faden’s plan, which was derived from “a sketch taken by an O&cer on the Spot,” accurately depicts the movements of the two naval squadrons, as well as the tracks of the retreat of the American survivors back to Fort Ticonderoga on the evening following the initial action. While the British had technically defeated the Americans at Valcour Island, Arnold’s delaying tactics forced the British to return to Canada for the winter, thereby delaying the British plan to march these forces south to join General Howe on the Hudson River. If the British had reached Albany that winter, the American Revolution likely would have collapsed altogether. !us the British viewed Valcour Island as a signi"cant military failure. !e present "rst state of the map includes Sir Guy Carleton’s name within the title, as the Commander of the British #eet. Following this edition, Carleton’s name would be removed from the title of the map and replaced with Captain !omas Pringle, thus passing the blame for the perceived failure. !e Pringle, second state of the map is known to have been issued both with and without explanatory text; the present "rst issue, with Carleton’s name, is unrecorded with the explanatory text, as here.

Streeter sale 773 (Pringle issue); Stevens & Tree 24 (Pringle issue); Nebenzahl, Atlas, pp. 66-67 (Pringle issue); Nebenzahl, Bibliography of Printed Battle Plans, 47 (!rst issue, but without text); Guthorn 145:13 (Pringle issue).

(#31702) $ 27,500 ' [AMERICAN REVOLUTION] - Great Britain, Acts of Parliament.

[!e Stamp Act, bound within a complete set of the 51 Acts passed during the fourth session of the twel"h Parliament in the #"h year of the reign of King George III].

London: Mark Baskett, 1765. Folio (12 1/8 x 7 1/2). 928, [18]pp. Each Act including sectional title and with integral blank bound between each Act. Includes Table of Statutes in the rear. !e Stamp Act appearing on pages 277-310, being 5 George III, cap. XII. Contemporary speckled calf, rebacked to style, red morocco lettering piece.

Very rare #rst o$cial printing of the Stamp Act: an exceptionally important document in American history.

!e passage of the Stamp Act was one of the signal events in the history of the United States. A"er its successful e#ort in the French and Indian War, the British government was saddled with a massive debt. Added to this was the cost of administering its new lands in Canada, and the necessity of protecting colonists on the American frontier from Indian attacks. In order to raise funds for border defenses, the British Parliament decided to levy a tax directly on the colonists, rather than relying on colonial legislatures to raise the funds themselves. Over the protests of colonial agents in London, including Benjamin Franklin from Pennsylvania and Jared Ingersoll of Connecticut, a tax was levied on all legal and commercial papers, pamphlets, newspapers, almanacs, cards, and dice. Nine pages in the present act are taken up with descriptions of what type of printed materials would be subject to the tax.

A Stamp O$ce was created in Britain, and Stamp Inspectors were to be assigned to each colonial district. Colonists wishing to purchase or use any of the materials covered in the Act would be required to buy a stamp. !e outrage in the colonies at this form of taxation was immediate and overwhelming, and the Stamp Act was repealed in 1766. !e bitterness engendered by the Act lingered on, and, coupled with subsequent British laws including the Intolerable Acts and the Townshend Acts, became some of the many grievances enunciated in the Declaration of Independence.

“!is is the original folio edition of the famous (or infamous) Stamp Act, by which the American colonies were taxed in and on their business papers” (Church). “!e importance of this act to our history needs no comment” (Streeter). Sabin and Howes note an octavo edition of sixty-six pages, also printed by Baskett in London in 1765. !is momentous law was reprinted several times in the American colonies in 1765, in editions in Boston, New York, Philadelphia, Annapolis, New London, and Woodbridge, New Jersey.

!is example bound with the other acts passed by Parliament during the session held in the %"h year of the reign of King George III, i.e. 5 Geo. III, caps. 1-51. Among these are other laws of note, including several relating to America: the Quartering Act of 1765 (cap. 33), acts relating to John Harrison and the Board of Longitude prize (cap. 11 and cap. 20), an act relating to duties on co#ee from the American colonies (cap. 45), and more.

Sweet & Maxwell II:176; Church 1054; Stevens 6; Howes A285; Sabin 1606

(#31372) $ 36,000

% BARTRAM, John (1699-1777) and [William STORK (d. 1768)].

A Description of East Florida, with a Journal, kept by John Bartram of Philadelphia, botanist to His Majesty for the Floridas; upon a journey from St. Augustine up the river St. John’s, as far as the lakes.

London: Sold by W. Nicol ... and T. Je!erys, 1769. Quarto (10 x 7 1/2 inches). 1 large engraved folding map, 2 engraved folding plans. (Short repaired tear to "rst map, neatly mended corner folds in "rst half). Half speckled calf and marbled paper-covered boards, rebacked to style.

!e third and by far the best edition of one of the most important 18th-century works on Florida, with signi"cant additions and "ne maps not found in the previous editions. One of only two published works by famed American botanist John Bartram.

Great Britain took possession of Florida in the peace settlement of the French and Indian War in 1763, opening the region to exploration and development by the English. In the winter of 1765-66, promoter William Stork and naturalist John Bartram explored the eastern part of Florida, up the St. Johns River near present day Jacksonville. “#e celebrated botanist’s journal complements Stork’s promotional account, and both are among the most important sources for the history of East Florida” (Streeter). Stork describes the importance of East Florida to Great Britain, especially regarding commerce and relations with the Spanish settlements. Bartram’s journal is prefaced by an 8pp. “catalogue of plants that may be useful in America” [i.e. in Florida] compiled for Stork by John Ellis. #e journal itself is delightful: the daily thoughts and observations of probably the greatest 18th-century American naturalist. It runs from 19th December 1765 to February 12th 1766 and includes details of the places visited and the people encountered, all interspersed with notes on the climate, the terrain, and of course the indigenous animals and plants.

#is edition, the rarest of the three published, is noted for the plans of St. Augustine and the Bay of Espiritu Santo and a large map of the region, all by #omas Je!erys. #e map, titled East Florida from Surveys made since the last Peace, depicts the major cities and waterways of Florida and is particularly notable for showing the overland route from St. Augustine to St. Mark of Apalache. #e map depicts the peninsula as far north as Savannah and as far west as Pensacola.

A lovely copy of one of the most important 18th-century works on Florida, signi"cant for its contributions to travel literature, natural history, and cartography.

Cumming 379 (map); De Renne I:193; Eberstadt 131:285; Howes S1042, “b”; Phillips, p. 280 (map); Sabin 92222; Servies 480; Sta#eu & Cowan I, 131-132; Streeter Sale 1183 (1766 edition); Vail 600.

(#25219) $ 16,000

% BENJAMIN, Asher (1773-1845).

!e Country Builder’s Assistant, fully explaining, the best methods for striking regular and quirked mouldings: ... Correctly engraved on thirty-seven copperplates with a printed explanation to each.

Boston: Spotswood and Etheridge, 1798. Small 4to (7 5/8 x 6 inches). [36]pp. 37 engraved plates (two folding). (Plate 33 with top portion in expert facsimile). Contemporary sheep, expert repair at front joint. Housed in a full black morocco box.

!e "rst original American book of architecture: second edition, a#er the exceedingly rare Green"eld "rst edition printed the previous year.

Earlier architectural works printed in the United States were simply compilations or reprintings of British material (e.g. John Norman’s Town and Country Builder’s Assistant of 1786). Benjamin’s work is a classic and important American architectural treatise, by the man who was most responsible for disseminating late colonial details throughout New England, beautifully illustrated with engravings of colonial buildings, elevations of churches and homes, ornaments, cornices, etc., re!ecting the in!uences of the Doric, Ionic, and Corinthian orders. “[T]here is scarcely a village which in moulding pro"les, cornice details, church spire, or farm-house does not re!ect his in!uence” (DAB).

“#e career of our "rst American architectural writer, Asher Benjamin (1773-1845), covered several decades of the early nineteenth century. Both the books he wrote and the buildings he designed had an in!uence on building in New England that is still visible. He probably will be best remembered for his popularization of the federal style through his early books (and the Greek revival in his later ones)” (#ompson).

Although the title states that each plate would include a textual description, there was no text issued for plates 9-10, 17-18, and 29-33; the work is complete with 18 unnumbered leaves of text (including the title) and 37 engraved plates. #e "rst obtainable edition of the earliest architectural book written by an American and printed in the United States.

Rink 2484; Evans 33399; Hitchcock 112; Neville !ompson, “Tools of Persuasion: !e American Architectural Book of the Nineteenth Century” in !e American Illustrated Book in the Nineteenth Century (1987), p.142.

(#29650) $ 9,500

# BROWN, William Henry (1808-1883).

Portrait Gallery of Distinguished American Citizens, with biographical sketches.

Hartford: E. B. and E. C. Kellogg, 1846. Folio (15 7/8 x 12 inches). 27 tinted lithographed silhouette portraits, 27 tinted lithographed plates of facsimiles of handwriting (some foxing, o!setting and oxidization as usual). Modern half calf and oatmeal cloth.

First edition of this impressive work, notable for its e!ective and evocative lithographed portraits of renowned Americans of the antebellum period, each depicted in full-length silhouette pro"le: “Almost the entire edition was destroyed by "re, and copies are extremely rare” (Harry Peters).

All the portraits, except for the George Washington allegorical frontispiece, are based on sketches made from life by Brown, who was widely celebrated for his scissor-cut silhouettes. Brown was born and died in Charleston, South Carolina, but in the interim traveled widely throughout the United States, his fame as a silhouettist gaining him access to many of the country’s leading citizens whose pro"les Brown took which amazing speed and accuracy. Alice Van Leer Carrick, an authority on silhouettes, notes that, rather than any existing original portraits, the present work is “the real memorial to Brown’s genius, [and it is] now almost rarer than any of the silhouettes themselves.” Brown prepared the biographical text himself, and the silhouettes (with appropriate tinted backgrounds) were transferred to stone and printed by one of the best known lithographic !rms of the period: Kelloggs of Hartford, CT. "e result is a valuable historical and visual record, with subjects including John Marshall, John Q. Adams, Richard C. Moore, Andrew Jackson, John Forsyth, William Henry Harrison, John C. Calhoun, De Witt Clinton, Richard M. Johnson, Joel Poinsett, Alexander Macomb, Martin Van Buren, Samuel Southard, Henry Clay, Henry Wise, "omas Hart Benton, John Tyler, Levi Woodbury, "omas Cooper, Daniel Webster, William White, Silas Wright, Nathaniel Tallmadge, Felix Grundy, Dixon Lewis, and John Randolph. Each portrait is accompanied by another plate displaying a facsimile of the subject’s handwriting.

According to Peters, “almost the entire edition was destroyed by !re, and copies are extremely rare.” Furthermore, the book is o#en found incomplete with plates lacking; the present example complete with all portraits and plates of handwriting.

Cf. Groce-Wallace, Dictionary of Artists in America 1564-1860, p. 90; Howes B871 (“b”); cf. Peters, America on Stone, pp., 116-117; Sabin 8578.

(#31770) $ 5,250 ) COLUMBIAN MUSEUM, Boston - Daniel BOWEN.

Columbian Museum, At the Head of the Mall, Boston ... Large Historical Paintings ... A Monument to the Memory of George Washington ... Elegant Wax Figures ... Automaton and Musical Clocks ... Natural Curiosities ... !e Concert Organ.

[Boston: D. Bowen, circa 1801]. Letterpress broadside, woodcut co!n and urn decoration, 23 x 18¼ inches. Minor losses in the margins at sheet edges not a#ecting text.

A remarkably early American museum broadside.

A broadside advertisement for the Columbian Museum in Boston, one of the earliest American museum publications extant. Opened by Daniel Bowen in 1795, the museum specialized in the exhibition of $ne art as well as curiosities. %e museum was an expansion on Boston’s $rst such institution, also founded by Bowen in 1791, which was dedicated primarily to the exhibition of wax $gures. %e Columbian also played host to a variety of public performances and lectures. “One exhibit, more suggestive of P. T. Barnum than the sedate o#erings of a modern museum, featured a bibulous elephant who consumed vast quantities of spiritous liquor, the museum’s advertising assuring the public that ‘thirty bottles of porter, of which he draws the corks himself, is not an uncommon allowance.’ ... Despite such vulgarities, Bowen’s Museum is said to have had a signi$cant in&uence on the history of American painting. %e works of art on display there, especially those of Robert Edge Pine, formed the only public art gallery in Boston. Art historians credit this collection with in&uencing three major painters: Washington Allston, the great Romantic painter, Samuel F. B. Morse, better known as the inventor of the telegraph, and Edward Greene Malbone, a miniaturist of note, all of whom resided in the Boston area in the 1790s” (W.P. Marchione, Allston-Brighton Historical Society).

%is broadside advertises Bowen’s wax sculptures of famous $gures, such as John Adams, George Washington, and Benjamin Franklin, but further promotes a much more eclectic range of exhibited items. First among these are a collection of “large historical paintings,” which depict a wide array of subjects, including “Mrs. Yates in the character of Medea,” “Time clipping Cupid’s wings,” and “His Excellency John Hancock, late Governor of Massachusetts, painted by Mr. Copeley.” Prominently placed in the center of the broadside is an announcement that a “Monument to the Memory of General Washington has lately been erected in the centre of the Museum,” with a small woodcut purporting to be the object in question. Also advertised are a collection of “automaton and musical clocks,” and a concert organ, “one of the most elegant Instruments of the kind ever imported,” as well as a number of “natural curiosities,” consisting mostly of birds, snakes, and a very large $sh (“12 feet in length”) caught in Boston harbor. “%e Museum has been established in Boston, about $ve years, during which time the collection of natural and arti$cial Curiosities, elegant Paintings, Wax Figures, &c. have been constantly increasing, and is now universally visited as one of the most rational and entertaining places of amusement in the United States: -- And will be removed from Boston at the expiration of the lease. Music on the Concert Organ. -- Admittance Fi'y Cents.”

%ough several editions of advertisements for the Columbian Museum have been noted by OCLC, ESTC, and Evans, this particular broadside is apparently unrecorded.

(#31356) $ 7,500

& CONTINENTAL CONGRESS - [John DICKINSON].

A Declaration by the Representatives of the United Colonies of North-America, now met in General Congress at Philadelphia, setting forth the Causes and Necessity of their Taking Up Arms ... July 6th, 1775 [caption title].

[Portsmouth: Daniel Fowle, 1775]. Broadside (17 1/2 x 11 1/4 inches). Woodcut of Boston at head. Minor repaired separations at old folds. Matted.

Rare broadside printing of the Declaration of the Causes for Taking Up Arms, illustrated with a woodcut view of Boston.

Written by John Dickinson, based on a dra! by "omas Je#erson, issued a!er the battles of Lexington, Concord, and Bunker Hill, and promulgated by the Continental Congress in Philadelphia on July 6, 1775, the present Declaration would become a famous precursor to the Declaration of Independence.

"is is an extremely rare broadsheet printing, published at Portsmouth, New Hampshire by the $rst printer there, Daniel Fowle. "e $rst edition printed in Philadelphia by William and "omas Bradford was in pamphlet form. "ree other single sheet editions are known, two printed in New York by John Holt, and one printed in Providence by John Carter. "is Portsmouth edition was printed by Daniel Fowle, who began his printing career in Boston in 1740, but %ed to New Hampshire in 1755 a!er being arrested for libel and sedition by the Massachusetts government. Upon his arrival in Portsmouth, he established the state’s $rst printing press and its $rst newspaper, the “New Hampshire Gazette,” and undertook all signi$cant early New Hampshire printing.

"e Declaration was issued by the Congress three weeks a!er the battle of Bunker Hill and the burning of Charlestown, in defense of the armed resistance to the British forces in Massachusetts and martial law in Boston, and listed the injuries that had been in%icted upon the colonies. Even at this point, there was some small hope that a reconciliation might be possible, and the address depicts the Americans as a still potentially loyal population. Dickinson writes, “We for ten Years incessantly and ine#ectually besieged the "rone as Supplicants; we reasoned, we remonstrated with Parliament in the most mild and decent Language. But Administration, sensible that we should regard those oppressive Measures as Freemen ought to do, sent over Fleets and Armies to enforce them. "e Indignation of the Americans was roused it is true; but it was the Indignation of a virtuous, loyal, a#ectionate People.... We have not raised Armies with ambitious Designs of separating from Great Britain, and establishing independent States.-- We $ght not for Glory or Conquest.”

Nevertheless, the numerous violations of the British and the Crown made the need for military confrontation plain: “His Troops have butchered our Countrymen; have wantonly burnt Charles-Town, besides a considerable Number of Houses in other Places; our Ships and Vessels are seized; the necessary Supplies of Provisions are intercepted and he is exerting his utmost Power to spread Devastation and Destruction around him.... We are reduced to the Alternative of chusing unconditional Submission to the Tyranny of iritated Ministers, or resistance by Force. -- "e latter is our choice.”

Finally, in the most well known passage of the Declaration, the righteousness of the American

cause is passionately and eloquently described: “Our Cause is just. Our Union is perfect. Our internal Resources are great; and if necessary, foreign Assistance is undoubtedly attainable.... With Hearts forti!ed with these animating Re"ections, we most solemnly, before GOD and the World declare, that, exerting the utmost Energy of those Powers, which our beni!cent Creator hath graciously bestowed upon us the Arms we have been compelled by our Enemies to assume, we will, in de!ance of every Hazard, with unabating Firmness and Perseverence, employ for the Preservation of our Liberties, being with one Mind resolved, to die Freemen rather than to live Slaves.”

#is broadsheet edition of the Declaration includes a woodcut image of Boston with several Native Americans in the foreground, and with a caption in reference to the British military occupation that reads, “A View of that great and "ourishing City of BOSTON, when in its purity, and out of the Hands of the Philistines.” #e cut bears the signature James Turner, who originally fashioned it for a 1745 issue of “#e American Magazine,” which was published by Fowle and Gamaliel Rogers while Fowle was still in Boston. It made its way to Portsmouth with Fowle’s other printing supplies when he le$ Massachusetts, and was used by him in a 1759 publication as well as here. As such, this is the only version of the Declaration in which it appears. It is one of the earliest views of an American city created in the American colonies.

An important work in the history of the American Revolution, ESTC records copies of this edition in only four institutions: the Historical Society of Pennsylvania, the New Jersey Historical Society, the American Antiquarian Society, and the New York Public Library. OCLC notes a further copy at the Library of Congress.

American Antiquarian Society, Wellsprings of a Nation 144; American Woodcuts and Ornaments, 1046; ESTC W15198; Evans 14550; OCLC 62766350; Whittemore 184.

(#31343) $ 75,000

' DECLARATION OF INDEPENDENCE - John BINNS (1772-1860).

Declaration of Independence. In Congress. JULY 4th, 1776. !e Unanimous Declaration of the thirteen United States of America.

Philadelphia: John Binns ... Printed by Henry Sartain, 1819 [but later]. Hand coloured broadside, 34 7/8 x 24 1/2 inches. Oval stipple engraved portraits of Washington, Je&erson and Hancock, surmounting an oval border composed of the seals of each of the thirteen states, calligraphic text of the Declaration within a border surmounting facsimile signatures of each Signer, engraved by Tanner, Vallance, Kearny & Co. Framed.

Among the most decorative broadside printings of the Declaration in the 19th century: rare hand colored issue.

#e Declaration of Independence, the foundation document of the United States, has been printed myriad times since its original publication in 1776. First printed as separate broadsides, then as an essential addition to any volume of laws, it was from the beginning a basic work in the American canon. #e Binns Declaration was one of the earliest broadside reproductions of the Declaration, and among the most decorative. In the period following the War of 1812, Americans began to look back, for the !rst time with historical perspective, on the era of the founding of the country. "e republic was now forty years old, and the generation of the American Revolution, including the signers of the Declaration, was dropping away. With nostalgia and curiosity, many Americans began to examine the details of the nation’s founding. Among other things, such documents as the debates of the Constitutional Convention were published for the !rst time. It seems extraordinary today that the Declaration of Independence, as originally inscribed, was unknown to the eye of most Americans, when the object was so central to the national ego. Several entrepreneurs set out to bridge this gap by printing calligraphic reproductions of the document for sale to the public, beginning in the late 1810s.

!e "rst to begin such an undertaking was John Binns, a Dublin-born veteran of the Irish republican cause, who immigrated to America in 1801 and quickly founded !e Democratic Press of Philadelphia, a pro-Republican newspaper. Early in 1816, according to his memoirs, Binns “issued proposals to publish a splendid and correct copy of the Declaration of Independence, with fac-similes of all the signatures, the whole to encircled with the arms of the thirteen states and with the seal of the United States” (Binns, p.234).

While Binns was busy corresponding with various state and national o#cials and assembling teams of painters and engravers in preparation of his work, a calligrapher from Massachusetts named Benjamin Owen Tyler rushed his own engraving of the Declaration into publication in 1818. While Tyler’s engraving was ornamentally printed and featured facsimile signatures, it was a drastically cheaper production than Binns, which was not "nally published until late 1819.

!e work, “nearly four years in the hands of the artists before it was ready for publication, at the expense of nine thousand dollars,” features the calligraphic text and facsimile signatures by C. H. Parker, an ornamental border by George Bridport containing the thirteen state seals drawn by !omas Sully and topped with portraits of George Washington (a$er Stuart), John Hancock (a$er Copley) and !omas Je%erson (a$er Otis); the Great Seal of the U.S. at the center of the document’s title at the top, and, at bottom, an engraved endorsement by Secretary of State John Quincy Adams reading, “Department of State, 19th, April 1819. I certify, that this is a Correct copy of the original Declaration of Independence, deposited at this Department; and that I have compared all the signatures of the original, and found them Exact Imitations.”

“It is believed,” wrote Binns in 1854, “that no State paper has ever been published with more care to its accuracy , or on which more expense has been lavished” (p.235). During the following decade, numerous additional broadside versions of the Declaration were published, many borrowing (or stealing outright) from Binns’s production.

According to John Bidwell’s list, this is the "$h broadside engraving of the Declaration of Independence published, following letterpress versions of 1817 and 1819, Tyler’s engraving of 1818, and an engraving published by William Woodru% in 1819 which pirated the design of Binns’s work and beat it to publication by several months. !e present example is a later issue of the Binns Declaration, printed by Philadelphia publisher Henry Sartain. Bidwell ascribes the date of this printing to circa 1850s-1860s, though others date it to the 1876 Centennial. Printed on thick paper, the print is beautifully hand coloured at a period date.

John Bidwell, “American History in Image and Text” in Proceedings of the American Antiquarian Society , 1988, Vol. 98, pp.247-302 (also issued as a separate pamphlet by AAS), item 5. John Binns, Recollections of the Life of John Binns: Twenty--nine Years in Europe and Fi!y-three in the United States, Written by Himself.... (Philadelphia, 1854), pp.234-7.

(#32202) $ 25,000 item 10 &' DES BARRES, J. F. W. (1721-1824), publisher - Samuel HOLLAND (1728-1801), surveyor.

[Chart of Mount Desert Island and the Maine coast from Swan’s Island to Schoodic Point].

[London]: 15 July 1776. Copper-engraved and etched map, on two joined sheets of laid paper. Le! margin trimmed just within the neatline with minor loss to some of the gradients. Sheet size: 42 3/4 x 30 1/4 inches.

A very !ne sea chart of Mount Desert Island from "e Atlantic Neptune, the !nest British sea atlas of the North American colonies published in the 18th century.

Without question, this is the "nest chart focussing on Mount Desert Island produced in the 18th century. #e map is from "e Atlantic Neptune, the "nest large scale sea atlas of the United States and Canadian Atlantic coastline ever produced. #e maps in the atlas were produce over a seven-year period (1775-82), and are well known for their accurate portrayal of various sounds, bays, bars, harbors as well as navigational hazards. #is atlas was used extensively by the Royal Navy during the American Revolution.

Des Barres studied under the great mathematician Daniel Bernoulli at the University of Basel, before continuing on to the Royal Military College at Woolwich. On the outbreak of the Seven Years war in 1756, he joined the British Royal American Regiment as a military engineer. He came to the attention of General James Wolfe, who appointed him to be his aide-de-camp. From 1762, Des Barres was enlisted to survey the coastlines of Nova Scotia, Newfoundland, and the Gulf of St.Lawrence, while his colleague, Samuel Holland charted the New England coast. In 1774, Des Barres returned to England where he began work on the Neptune. His dedication to the project was so strong, that o!en at his own expense, he continually updated and added new charts and views up until 1784. #at year he returned to Canada, where he remained for a further forty years, becoming a senior political "gure and a wealthy land owner, and living to the advanced age of 103.

#e Atlantic Neptune was the "rst British sea atlas of her North American colonies, and one of the most important achievements of eighteenth century cartography. With an o$cial commission from the Royal Navy, Des Barres published the "rst volume in London in 1775, which was soon followed by further volumes. Des Barres’ monumental endeavor eventually featured over two-hundred charts and aquatint views, many being found in several states. All of the charts were immensely detailed, featuring both hydrographical and topographical information. #e Neptune met with the highest acclaim from the beginning, and is today widely regarded as superior to all other atlases produced during its time.

Henry Stevens identi"ed "ve states of this chart. #e present example is intermediate between the "rst and second states, i.e. on LVG laid paper watermarked, with the borders scaled, with place names added, but before the type-stamped plate number on verso. Such early states are very rare.

National Maritime Museum: Henry Stevens Collection: HNS113; Spendlove, "e Face of Early Canada, pp. 18-22; Cf. Phillips, Atlases 1198; Hornsby, Surveyors of Empire: Samuel Holland, J.F.W. Des Barres and the Making of the Atlantic Neptune (2011).

(#30047) $ 35,000 && DOUGLASS, William (1691-1752).

A Summary, Historical and Political, of the First Planting, Progressive Improvements; and Present State of the British Settlements in North America.

London: R. Baldwin, 1755. 2 volumes, 8vo (7 7/8 x 5 inches). Engraved folding map by !omas Je"erys a#er D’Anville, hand coloured in outline. Contemporary calf, spines with raised bands, green morocco lettering pieces (expert repairs to joints and spine ends). Provenance: W. Dowdeswell (early signature).

First English edition of the “First American history of the whole country” (Howes).

Douglass was a Scottish physician living in Boston and $rst published his history serially in Boston. Although not a work noted for its accuracy, Wroth comments, “Modern critics of the Summary have overlooked the fact that its author was the $rst to attempt this story from the viewpoint of a resident American” and further quotes a contemporary critic in the Monthly Review as $nding it “a fuller and more circumstantial account of North-America, than is any where else to be met with.”

!is $rst English edition is desirable with the map, entitled “North America, from the French of Mr. D’Anville, improved with the back settlements of Virginia and course of Ohio, illustrated with geographical and historical remarks. May 1755. Published by !omas Je"erys.” Sabin notes the work’s rarity with the map: “Although at the end of the contents of vol. I there is ‘Place the Map to face the Title of Vol. I,’ no copy has yet been found, in its original state, with the map.” Sabin also states that “the work is authentic and valuable, and should $nd its place in every American library. Adam Smith characterizes the author as ‘the honest and downright Dr. Douglass’.”

Howes D446; Sabin 20727; TPL 225; Clark I:226; Wroth pp. 87-91; ESTC T145903

(#31524) $ 4,000 $% FRANKLIN, Benjamin (1706-1790), printer - Johann ARNDT (1555-1621).

Des Hocherleuchteten !eologi ... Sechs Bucher vom Wahren Christenthum.

Philadelphia: Benjamin Franklin and Johann Böhm, 1751. Six parts in one, thick 8vo (7 1/8 x 4 1/2 inches). [32], 1356 pages. 62 (of 64) engraved plates; lacks the portrait of Arndt and the plate at page 1016. Old repairs to title-page and some loss of text at fore-edge of last leaf. !e David and Goliath frontispiece misbound at page 676. Contemporary sheep, metal upper clasps, rebacked at a later date, lacks lower clasps, worn. Provenance: Sotheby’s New York, Jun 16, 1992, lot 42.

Rare Franklin imprint.

“!is is the largest book printed in Philadelphia, up to its time, and one of the rarest of Franklin imprints” (Evans). Published by subscription at a cost of 12 shillings, only 511 copies were ordered. Miller refers to it as “one of the great publishing feats of the colonial American German press.”

Although the plates were imported from Germany based on designs of earlier editions of the work, such illustrated works were highly unusual in the American colonies. !e images include several of note, including a depiction of "re works as well as one of a printing press. Given the complexity of publication, the work is rarely found complete with all 64 plates (i.e. portrait of Arndt, frontispiece of David and Goliath, 6 section frontispieces and 56 emblem plates). !e present example lacking only the portrait of Arndt and one of the emblem plates.

Evans 6630; Miller 520; Campbell 460; Hildeburn 1204

(#32326) $ 4,000 &' FRENCH & INDIAN WAR - FITCH, !omas (1700-1774).

Proclamation for a Public !anksgiving.

New Haven: James Parker, February 21, 1760. Letterpress broadside (14 x 11 3/4 inches). Neat repairs to old tears. Matted.

A broadside declaring a public day of thanksgiving, as ordered by King George II, in honor of the famous British victory against the French at Quebec in 1759 during the Seven Years’ War.

On September 13, 1759, British forces under General James Wolfe scaled the cli"s southwest of Quebec and defeated the French army on the Plains of Abraham. !e loss caused the French to abandon Quebec and eventually all of French Canada, which was o#cially surrendered to the British under the Treaty of Paris in 1763. George II proclaimed an o#cial day of thanksgiving for the victory to take place in Great Britain at the end of November, 1759, and declared, “!at it is his Majesty’s Pleasure, that the like public !anksgiving, should be solemnized in all his Majesty’s Colonies in America, which are so particularly interested in these happy Events.”

Via this broadside, !omas Fitch, who governed the colony of Connecticut from 1754 to 1766, ordered that the day of thanks take place on March 6, 1760. Fitch was later one of the $rst colonial government o#cials to protest against the Stamp Act in print, but he was voted out of o#ce for his decision to enforce the law despite his opposition to it.

An extremely rare piece of ephemera from colonial America during the French and Indian War. ESTC records only two other copies, at the American Antiquarian Society and the Connecticut Historical Society.

Evans 8568; ESTC W34681; Reilly 369, 912.

(#31580) $ 5,000 $% GORDON, William (1728-1807).

!e History of the Rise, Progress, and Establishment, of the Independence of the United States of America: including an Account of the Late War; and of the !irteen Colonies, from their origin to that period.

London: Printed for the Author, 1788. 4 volumes, 8vo (8 x 4 7/8 inches). 9 engraved folding maps and plates. (Minor foxing to the plates). Contemporary tree calf, expertly rebacked to style, !at spines with red and black morocco lettering pieces.

A lovely set of the "rst edition of the “"rst full-scale history of this war by an American; to its preparation Je#erson contributed some aid” (Howes).

Gordon was a dissenting minister in England, who like many of his class sympathized with the contention of the "irteen Colonies. Going to America during the disturbances, and becoming pastor of the church at Jamaica Plain, now a district of Boston, he was throughout the Revolution a spectator close at hand of many important events, and the associate of many of the chief patriots. “Gordon is deservedly reckoned as the most impartial and reliable of the numerous historians of the American Revolution” (Sabin).

"e work is noted for its folding maps, engraved by T. Conder, which include a general map of the United States, as well as maps of New England, New Jersey, Virginia, the Carolinas, maps of the areas surrounding Boston and New York City, plus battle plans of Fort Moultrie and Yorktown.

Howes G256; Sabin 28011; Larned 134; Gephart 996.

(#31029) $ 10,000

&' HUNTER, Dard (1883-1966).

Papermaking by Hand in America.

Chillicothe, OH: Mountain House Press, 1950. Folio (16 1/2 x 11 1/2 inches). Half-title, title printed in red and black, headpieces and tailpieces, initial letters printed in red throughout. Hand-coloured frontispiece, 96 tipped-in or mounted facsimiles, 27 tipped-in facsimiles of watermarks on paper made in the manner of the originals, 43 tipped-in facsimile paper labels. paper label on spine, extra-illustrated with the prospectus for the book a!xed to front pastedown, and the invitation to the book’s publication party at Princeton a!xed to front free endpaper. Publisher’s half linen over paper-covered boards, half red morocco and cloth box (minor bump to corner of box, the book una"ected). Provenance: #omas A. Stone (typed address slip on Dard Hunter letterhead, laid in).

!e “author’s magnum opus.” - One of 200 numbered copies signed by Hunter, this copy numbered one hundred twenty-eight.

#e book is printed on Dard Hunter’s paper, and with type cut by Dard Hunter, Junior. “#e last work of the Mountain House Press and the author’s magnum opus, this book provides a history of American papermaking by listing and describing the $rst paper mill in each state from 1690 until 1811, six years prior to the introduction of the $rst paper machine into the United States. #ere are in the book 123 facsimiles of documents and watermarks and forty- two reproductions of labels used by these early paper manufacturers. #e thick folio volume was to have been issued in an edition of 210 copies, but the author’s own bibliography says that only 180 were completed” (Schlosser).

Schlosser 41.

(#26762) $ 9,000

%& JAMAICA - [Henry MORGAN].

!e Present State of Jamaica. With the Life of the Great Columbus the First Discoverer: to which is Added an Exact Account of Sir. Hen. Morgan’s Voyage to, and famous Siege and Taking of Panama from the Spaniards.

London: Printed by Fr. Clark for !o. Malthus, 1683. 12mo (5 1/4 x 3 inches). [10],117pp. Nineteenth century red morocco, bound by Ramage & Co., expertly rebacked to style, spine gilt with raised bands, gilt edges.

Jamaica and the Pirates.

A description and brief history of the island of Jamaica, from its discovery by Christopher Columbus in 1494 to 1675, along with an account of Henry Morgan’s raid on Panama in 1670 and 1671. !e work is based partly on a description of the island by its governor !omas Lynch published with an account of Jamaican laws in the same year and again in the 1684 in an enlarged edition. !e account of Morgan’s expedition has its own titlepage in the text.

Henry Morgan was already a renowned privateer by the time he organized his attack on Panama in 1670. Appointed admiral of the privateers in the late 1667, he had conducted several highly successful and lucrative raids on Spanish possessions in America, including Portobello, also in Panama, and Maracaibo in Venezuela. Although a treaty had been signed between England and Spain during the summer of 1670, the English government did nothing to curb Morgan’s organization and execution of the new expedition, and probably encouraged it. Despite the overwhelming military success of the operation, “!e privateers were hugely disappointed with their plunder. !e army spent a month searching the o"shore islands and surrounding country for runaway citizens. Spanish reports suggest that the privateers were unusually brutal in torturing captives to obtain information about hidden property and many died in the process. Disappointment seems to have sharpened the customary cruelty...” (DNB).

Morgan was eventually transported back to England imprisoned in the Tower of London in 1672, but was released without charge in 1674, and appointed Lieutenant Governor of Jamaica in 1675. !e accounts and documents published here attempt to legitimize Morgan’s actions, by presenting copies of his commissions and instructions to act as a privateer, and by relating positive eyewitness accounts of his operations. In doing so, the publication sought to rehabilitate his slipping reputation. Alexander Esquemeling wrote particularly disfavorably of Morgan in his well known and widely read narrative of privateers operating in America #rst published in Amsterdam in 1678, and further translated and published in several other countries by 1683. Strangely, the publisher of this altogether more positive work, !omas Malthus, put into print the #rst English edition of Esquemeling in 1684, and a year later was successfully sued for libel by Morgan, who was awarded £200. A scarce work, with ESTC recording only eight copies in North American institutions.

Cundall 268; European Americana 683/168; JCB(4) 123; Sabin 35649; ESTC R1042

(#31582) $ 9,500

#$ JUDAICA, American - Titus Flavius JOSEPHUS (37-100).

!e Works of Flavius Josephus, the Learned and Authentic Jewish Historian and Celebrated Warrior ... Translated by William Whiston.

New York: T. Simpson & Co., 1808-1809. 4 volumes, 8vo (8 1/4 x 4 7/8 inches). Stipple engraved portrait frontispiece, 2 folding maps. Contemporary mottled Spanish calf, covers with a gilt roll tool border, !at spine gilt with red and black morocco lettering pieces, marbled endpapers. Provenance: Richard R. Parry (armorial bookplate and signatures).

Early American edition of the works Josephus, in a lovely contemporary binding.

Possibly bound by John Roulston of Boston.

Rosenbach 146; Shaw & Shoemaker 15336.

(#32327) $ 1,000 Item 18 &' LEWIS, Meriwether (1774-1809) and William CLARK (1770-1838).

History of the Expedition Under the Command of Captains Lewis and Clark, to the Sources of the Missouri, !ence Across the Rocky Mountains and Down the River Columbia to the Paci"c Ocean. Performed During the Years 1804-5-6.

Philadelphia: J. Maxwell for Bradford & Inskeep and Abm. H. Inskeep of New York, 1814. 2 volumes, octavo (8 3/8 x 5 inches). Six maps and charts, including the large folding map. (Evenly foxed throughout). Contemporary tree calf, covers bordered with a gilt roll tool, rebacked to style, "at spine divided into six compartments by Greek key roll tool, black morocco lettering piece in the second compartment, the others with a repeat decoration in gilt, period marbled endpapers.

!e "rst edition of the “de"nitive account of the most important exploration of the North American continent” (Wagner-Camp), complete with its large folding map. A cornerstone of Western Americana.

#e book describes the Government-backed expedition to explore the newly acquired Louisiana Purchase undertaken from 1804 to 1806 by ascending the Missouri to its source, crossing the Rocky Mountains, and reaching the Paci$c Ocean. In total, the expedition covered some eight thousand miles in slightly more than twenty-eight months. Lewis and Clark brought back the $rst reliable information about much of the area they traversed, made contact with the Indian inhabitants as a prelude to the expansion of the fur trade, and advanced by a quantum leap the geographical knowledge of the continent.

#is o%cial account of the expedition is as much a landmark in Americana as the trip itself. #e narrative has been reprinted many times and remains a perennial American bestseller. #e observations in the text make it an essential work of American natural history, ethnography and science. It is the $rst great U.S. government expedition, the $rst book on the Rocky Mountain West, and a host of other $rsts. It is among the most famous American books.

Church 1309; Field 928; Gra$ 2477; Grolier American 100, 30; Howes L317; Printing & the Mind of Man 272; Tweney 89, 44; Sabin 40828; Shaw & Shoemaker 31924; Streeter Sale 1777; Streeter, Americana Beginnings, 52; Wagner-Camp 13:1 (#27016) $ 140,000 %& LIBRARY COMPANY OF PHILADELPHIA.

A Catalogue of the Books, Belonging to the Library Company of Philadelphia; to which is pre!xed, a short account of the institution, with the charter, laws and regulations.

Philadelphia: Zachariah Poulson, Jr, 1789. 8vo (8 1/4 x 4 7/8 inches). xl, 406, [2]pp. Errata leaf in rear. Dampstaining to endpapers, small area clipped from head of title without loss to text. Contemporary calf, !at spine ruled in gilt, red morocco lettering piece.

Catalogue of the famed library founded by Benjamin Franklin, published during the time when it served as the Library of Congress.

"e #rst catalogue of the Library Company was printed by Benjamin Franklin in 1741. Winans describes this edition of the catalogue (quoting from an advertisement) as a “social library catalogue: 4000 full author entries, with place and date of publication, numbered accession/shelf numbers, arranged by subject, and then by format within each subject ... donors of books are identi#ed.”

“"e 1789 catalogue was a radical departure from all other early American library catalogs. It listed books by subject, according to a scheme derived from the Diderot Encyclopédie, which divided all knowledge into three categories, Memory, Reason, and Imagination, that is history, arts and sciences, and belles lettres. Library catalogues are not only #nding aids but also potentially a means of imposing intellectual order on a diverse collection and constituting it as an organic whole. "e Library Company’s 1789 catalogue did this brilliantly. Here for the #rst time the book culture of the old world was reconciled with the homely, quotidian realities of the new” (James Green, “Building a Library by Collecting Collections” [2004], p. 3).

Includes a 7pp. list of members of the Library (including Benjamin Franklin), as well as an author index in the rear.

Evans 22066; Sabin 61785; Winans 131.

(#31983) $ 3,000 &' LINCOLN, Abraham (1809-1865); and Edward EVERETT (1794-1865).

An Oration delivered on the Battle!eld of Gettysburg, (November 19, 1863,) at the Consecration of the Cemetery Prepared for the Internment of the Remains of those who fell in Battles of July 1st, 2d, and 3d, 1863.

New York: Baker & Godwin, 1863. 8vo (9 x 5 5/8 inches). 48pp. Publisher’s lettered wrappers, publisher’s ad on rear wrapper. (Repair to paper spine). Within a modern box.

“Four score and seven years ago...”: the earliest publication of the Gettysburg Address in book form, preceded only by the exceptionally rare sixteen-page pamphlet, "e Gettysburg Solemnities, known in only three copies.

Lincoln made his speech at the dedication of a cemetery on the Gettysburg battle!eld some four months a"er the bloody and pivotal battle that turned the tide of the Civil War in favor of the Union. Lincoln’s speech was preceded by an address from Edward Everett, the most famous orator of his day. Everett’s speech took some ninety minutes to deliver, and is largely forgotten. Lincoln’s speech, delivered in only a few minutes, is immortal. It is a supreme distillation of American values, and of the sacri!ces necessary for the survival of liberty and freedom.

“#e Washington Chronicle of 18-21 November reported extensively on this ceremony and included a verbatim text of ‘Edward Everett’s Great Oration.’ On the fourth day it noted in passing that the President had also made a speech, but gave no details. When it came to the separate publication on 22 November, Everett’s ‘Oration’ was reprinted from the standing type, but Lincoln’s speech had to be set up. It was tucked away as a !nal paragraph on page 16 of the pamphlet [#e Gettysburg Solemnities]. It was similarly treated when the meanly produced lea$et was replaced by a 48-page booklet published by Baker and Godwin of New York in the same year” (PMM).

Lincoln’s address appears on page 40, and parenthetical notes are added indicating “applause” and “long-continued applause.” A diagram on page 32 gives the details of the Soldiers’ National Cemetery at Gettysburg.

Howes E232, “b”; Monaghan 193; Grolier, American 100, 72 (note); Streeter Sale 1747; Sabin 23263; cf. Printing and the Mind of Man 351; Garry Wills, Lincoln at Gettysburg, pp.191-204.

(#31428) $ 40,000

&' [MAINE] - BRENTON, Jahleel; and William ELLERY.

[Manuscript map of the “Waldo Patent” principally depicting the land between the Muscongus River and Penobscot Bay].

[Newport, R.I.: 1767]. Manuscript map in ink and wash, on a single folio sheet, 15¼ x 19 inches. Docketed in manuscript on verso, “Map of Leveretts Patent alias Muscongus.” With two manuscript documents, one being [3]pp. on folio sheets, dated at Boston May 19, 1787; the other being [3]pp. on folio sheets, dated at Providence, R.I. on May 30, 1787. Also, with a half-page of manuscript dated Boston, March 28, 1768. All three documents relating to the lands depicted on the map. Map with minor separations along horizontal fold. "e half-page document being only the beginning portion of a longer letter, otherwise the manuscripts in near #ne condition.

A highly important manuscript map of Colonial Maine.

An attractive eighteenth century manuscript map of Penobscot Bay, Maine, heavily annotated by William Ellery, a signer of the Declaration of Independence from Rhode Island, who made claims to some of the lands depicted on the map. "e map was drawn by British Rear- Admiral Jahleel Brenton, who commanded the HMS Queen during the Revolution, and whose family lost much of its property as a result of the Revolution.

"e map is skillfully rendered, as would be expected of a British naval o$cer, and is done on a scale of about three miles to the inch. "e map depicts the coastline from the Damariscotta River in the southwest to the Penobscot River in the northeast, and shows and names the many islands of the Bay, as well as many inlets, harbors, rivers, ponds, etc. "e location of a fort and settlements have also been added.

"is information was all added by William Ellery (1727-1820), a signer of the Declaration of Independence from Rhode Island. Ellery explains in a manuscript note in the lower right corner of the map (dated at Newport, Rhode Island in 1767): “"is map of Leverett’s Patent &c was copied from a copy, by Jahleel Brenton Esq., one of the Proprietors; and presented by his son Samuel Brenton to William Ellery who wrote the References, Names of Places, &c. William Ellery.” In the upper le% corner of the sheet Ellery has added a long manuscript note explaining the survey and the boundaries of Leverett’s Patent, as depicted on the map.

"is map and the accompanying manuscript documents were found among William Ellery’s papers, and were part of Ellery and his brother Benjamin’s attempts to claim lands in Maine that they believed belonged to their family.

“Leverett’s Patent,” also known as the Waldo Patent or the Muscongus Patent, was issued in 1629 to "omas Leverett and John Beauchamp. It granted land and trading rights for a thirty- six square mile area along the Penobscot Bay in present-day Maine, between the Muscongus River and Penobscot River. According to the documents present here, Leverett inherited the full patent upon Beauchamp’s death, and at his own death divided the grant among his ten children, who then divided the land again amongst the next generation. Around 1720 Gen. Samuel Waldo of Boston acquired a large portion of the patent, and began recruiting immigrants from Germany to settle the area. "e letter fragment present here (dated March 28, 1768 and addressed to Benjamin and William Ellery) asserts that the Ellerys have an “undoubted right to a half share” of the Muscongus lands, as a result of a purchase made by their grandfather. !e unidenti"ed author of the letter goes on to describe the Waldo heirs as “exceeding di#cult to deal with.” Also present are two manuscripts, one being a 1787 copy of the original 1629 grant of the Muscongus Patent from the Council of Plymouth, the other being a manuscript deed of sale signed by James Green for a portion of the original patent.

A handsome colonial era manuscript map of the coast of Maine, drawn by a British Rear- Admiral and used by a signer of the Declaration of Independence to defend his family’s claims to the land. Signi"cant manuscript maps of this early date are virtually unknown in the market.

(#26308) $ 60,000 $$ MAINE - George N. COLBY, compilor.

Atlas of Hancock County Maine Compiled and Published under the direction of Geo. N. Colby ... Drawn from o!cial Plans, U.S. Coast Survey Charts, and actual Surveys by H. E. Halfpenny & J. H. Stuart.

Ellworth, Maine: S. F. Colby & Co [engraved by William Bracher, printed by F. Bourquin, Philadelphia], 1881. Folio (16 3/4 x 14 1/4 inches). 96pp, including 5pp ads in rear. 39 hand coloured lithographed maps (17 double-page, some printed recto and verso of same sheets, numerous insets) [complete]. Contemporary black morocco, upper cover lettered in gilt, marbled endpapers, gilt edges. Provenance: Edward C. Burleigh (name in gilt on upper cover).

"e #rst atlas devoted to Hancock County, Maine.

In 1881 cartographer/surveyor George N. Colby, assisted by J.H. Stuart and others, published the !rst atlas of Hancock County towns, villages, plantations and timber lots. "e maps identify many property owners by name, and show the locations of homesteads, businesses, roads, schools, churches, mills and cemeteries in those plantations, towns and villages. Including all the insets, 87 maps were produced by Colby Halfpenny and Stuart, drawn on stone by Willian Bracher and printed by F. Bourquin of Philadelphia. "e detailed town plans include Mount Desert Island, Bar Harbor, Ellsworth, Bluehill, Southwest Harbor, and numerous others.

As with most 19th century county atlases, the work was published strictly by subscription. Given the relatively small size of the county in terms of population, the atlas would not have been published in a large print run, resulting in its rarity today. “Despite their limitations and inaccuracies, nineteenth-century county atlases nonetheless preserve a detailed cartographical, biographical, and pictorial record of a large segment of rural America in the Victorian age” (Ristow, American Maps and Mapmakers, p. 424).

"is copy with provenance to Edward C. Burleigh, the Governor of Maine from 1889-1893.

LeGear 14311.

(#30409) $ 4,500 !" MASSACHUSETTS BAY, Colony of .

Acts and Laws, of his Majesty’s Province of the Massachusetts-Bay in New-England ... [Bound with 42 separate session laws] ... [And with:] !e Charter Granted by their Majesties King William and Queen Mary, to the Inhabitants of the Massachusetts-Bay in New-England ... [Bound with]: Acts and Laws, of his Majesty’s Province of the Massachusetts-Bay in New England ... [and bound with]: [27 separate session laws]. Boston: Samuel Kneeland and TImothy Green, 1742-1758; 1759-1768. 2 volumes, small folio. [2],28, 333, [1]pp., plus the session laws continuously paginated 335-493, [1]pp. [with pages 425-426 in facsimile]; [2],14,24,[2], 396pp, plus the session laws continuously paginated 397-560pp. Contemporary notations to front !yleaf, titlepage, and to table in second volume, re!ecting additional session laws; at p.290, contemporary manuscript note bound in. Inked library stamps and later annotations. Late 19th-century black pebbled morocco, spine lettered in gilt.

A signi!cant run of Massachusetts’s laws covering the French and Indian war period, and including the American edition of the Sugar Act of 1764 and one of the Townshend acts, as well as laws relating to the Stamp Act: the !rst steps on the road to revolution.

An impressive run of Massachusetts laws and session laws over a roughly twenty-"ve year period. #e "rst volume was issued in 1742 with session laws through 1758; the second volume includes the Charter, the 1759 Acts and Laws and session laws through 1768. In all there are 69 additional session laws, nearly the entire legislative output of Massachusetts from 1742 to 1768, including all of the legislation relating to King George’s War in the 1740s and the French and Indian War, 1755-1763.

Of particular note, the second volume contains the "rst American printings of some of the key documents in the gathering American crisis prior to the Revolution. Of the greatest importance, on pp. 459-479 is the “Act for better securing the Trade of His Majesty’s Colonies in America”, usually known as the Sugar Act. #is set of duties and commercial regulations, cra$ed by British minister George Grenville, sought to raise revenue and make the English colonies in North America pay for their own defense. #e Act led to a wave of resentment and resistance in the American colonies, and the pamphlets and speeches opposing it are properly considered the beginning of the path to the Revolution. Interestingly, the Stamp Act was not printed in 1765, but the Act repealing it was the following year (pp. 507-518), as well as an Act giving compensation to those who had lost property in the riots provoked by the Stamp Act, and pardoning o%enders in the same (pp. 519-520). Also included is the "rst American edition of one of the so-called Townshend Acts of 1767, which imposed duties on imports of glass, lead, paints, paper, and tea (pp. 535-542). An attack on this Act, in the form of a circular letter, written by Samuel Adams and sent to the representative bodies of other provinces, set o% a new round of protests, and led to the forced dissolution of the Massachusetts Assembly in 1768, the terminal point of the session laws in this volume.

A highly important collection of Massachusetts laws.

Evans 5003, 5236-5239, 5427-5429, 5626, 5627, 5798, 5995, 6180, 6353-6536, 6705, 6708, 6875-6877, 7047- 7050, 7241-7244, 7463-7465, 7703, 7941-7943, 8175-8177; 8400, 8399, 8913-8916, 9173-9176, 9428-9429, 9721-9724, 10052-10054, 10370-10373, 10675-10677, 10959-10960.

(#28946) $ 14,500 #$ OGILBY, John (translator and publisher, 1600-1676) - [Arnoldus MONTANUS (1625?- 1683)].

America: being the latest, and most accurate description of the New World ... Collected from most authentick authors, augmented with later observations and adorn’d with maps and sculptures, by John Ogilby.

London: Printed by the Author, 1671. Folio. Title printed in red and black. Engraved frontispiece, 56 maps, plates and portraits (6 single-page portraits, 31 double-page or folding views and plans, 19 folding maps), 66 engraved in text illustrations. Contemporary reverse calf, tooled in blind, red morocco lettering piece. (Expert repairs at top and bottom of spine). Housed in a red morocco box.

A very !ne, large copy of Ogilby’s !rst edition of this important work: a rare issue including Moxon’s First Lords Proprietors map of Carolina, the !rst large-format map of the newly established colony of Carolina.

!e present copy is unusual in that it contains the so-called Lords Proprietors map by Moxon titled A New Discription [sic.] of Carolina By Order of the Lords Proprietors - a map that was commissioned by Ogilby for this work, but which was not included in the earlier issues of the book as it was apparently not available until, at the earliest, 1672 and possibly as late as 1675. !e present complete copy is the second issue of the "rst edition, without the Arx Carolina plate or the Virginia pars Australis & Florida map (as issued), but with the Lord Proprietors map and a map of Barbados, and retaining the "rst issue list of plates.

!e "rst three issues of the "rst edition are as follows: 1. dated 1671, with both the Arx Carolina plate and the Virginia pars Australis map 2. dated 1671, with the Lord Proprietors map of Carolina map replacing both the Arx Carolina plate and the Virginia pars Australis map, with the addition of a map of Barbados, with the plate list as in the !rst issue still listing Arx Carolina and Virginia pars Australis but not listing the Lords Proprietors Carolina or Barbados 3. dated 1671, the plates as the second issue, but with a reset, cancel list of plates that no longer includes either Arx Carolina or Virginia pars Australis

"e work is an English translation of Arnold Montanus De Nieuwe en Onbekende Weereld, but with a number of additions concerning New England, New France, Maryland and Virginia "e work is divided into three books or sections and an appendix: the !rst gives an overall survey of the most important voyages and expeditions to the Americas, the second book o#ers a description of Mexico, the Caribbean Islands, Bermuda and North America, the third deals with South America and the appendix includes a miscellany of information including notes on the ‘Unknown South-Land’, the `Arctick Region’ and the search for the North-West passage.

"e Moxon map is the !rst large format map of the newly established colony of Carolina, preceded only by the much smaller and relatively simple maps by Robert Horne (1666), John Lederer (1672) and Richard Blome (1672). "e Ogilby-Moxon map, published to promote colonization in the region, would come to be known as "e First Lords Proprietors Map, with a second Lords Proprietors Map appearing in 1682.

"e map covers the region of North and South Carolina from the James River in present- day Virginia to St. Augustine in present-day Florida and includes an inset of the site of Charleston on the Ashley and Cooper Rivers. Cartographic elements include sea banks or shoals, soundings, some topographical details, degrees of latitude, compass rose, scale, and location of rivers and settlements. Recently established counties in the Carolinas are shown here for the !rst time. Decorative cartouches include scenes with native Americans wearing furs and feathered headdresses, and holding spears, clubs, and bows.

Prior to this map, only the small map by Robert Horne of 1666 had focused on the Colony. Moxon’s map was a signi!cant improvement over the Horne map, both in size and the accuracy of its depiction of the Colony. "e Albermarle and Pamlico Sounds are corrected, based upon information from an unknown source. "e Cape Fear region is drawn from Horne’s map. "e map also relies heavily on Lederer 1672 for information concerning the interior, and it was chie$y through this popular map that Lederer’s misconceptions became so quickly disseminated and so widely copied. Hilton’s and Sandford’s reports of the coast are also used. "e inset is based on Ashley-Cooper’s 1671 manuscript, with some names taken from Culpeper’s 1671 manuscript representing the earliest printed map of the region which would become Charleston. "e map would serve as the model for a number of later derivatives, most notably A New Description of Carolina, engraved by Francis Lamb for the 1676 Bassett & Chiswell edition of John Speeds’ s Prospect of the Most famous Parts of the World, published in London in 1676.

Arents 315A; cf. Baer (Md) 70A-C; cf. Borba de Moraes II, 626; Church 613; cf. European Americana 671/204- 207; cf. JCB III, 227-228; Sabin 50089; cf. Stokes VI, p.262; K.S. van Eerde John Ogilby and the Tate of His Times p.107; Wing O-165. References for the Carolina map: Cumming Southeast in Early Maps 70; Degrees of Latitude 13.

(#30793) $ 55,000

%& REID, John (publisher).

!e American Atlas.

New York: Published by John Reid, 1796. Folio (16 x 10 inches). Mounted on guards throughout, letterpress title within decorative border of typographic ornaments, 20 engraved maps on 19 leaves (1 folding, 17 double-page and 2 single-page maps printed on one double- page sheet), 1 folding engraved plan of Washington. Expertly bound to style in half calf over contemporary marbled paper covered boards, !at spine divided into six compartments with gilt rules, lettered in the second compartment.

A very "ne copy of this rare and important atlas, here including the folding plan of Washington not found in most copies. Among the earliest American atlases and the "rst atlas to contain a plan of Washington, D.C.

"e Reid atlas is one of the rarest and most interesting of American atlases, preceded only by the 1795 Carey and the Clark atlases as the earliest United States atlases. It includes detailed engraved maps of North and South America, and the United States; and individual maps of New Hampshire, Maine, Massachusetts, Vermont, Rhode Island, Connecticut, New York, New Jersey, Pennsylvania, Delaware and Maryland, Virginia, Kentucky, North Carolina, South Carolina, Georgia, Tennessee, and the West Indies. "e continent maps, the general map of the United States, and those of Kentucky and Washington are a#er maps appearing in London editions of Winterbotham; the remaining maps are original to this work. Although not found in all copies, the atlas is noted for containing an exceptional plan of Washington, D.C. which follows the famed Ellicott plan of 1792 (present in this copy).

Evans 31078; Howes R-170; Phillips Atlases 1216,1366; Phillips Maps pp.595,1005; Rumsey 845; Sabin 69016; Schwartz & Ehrenberg p.215; Streeter Sale 77; cf. ‘A Checklist of Printed Plans of Washington, DC 1792-180’ in Mapforum Issue 1.

(#24645) $ 20,000

$% SLAVERY - CLARKSON, !omas (1760-1846).

Autograph letter signed, to Benjamin Hawes, a lengthy letter concerning the abolition of slavery in the West Indies and the conversion of plantation slave labor into a free labor system.

Ipswich: 9 June 1842. 9pp. Early annotation at the top right corner.

An incredible content 9-page letter about the transition from slavery to free labor in the West Indies: “... you cannot force these to labour by the whip, as they are now free Men ...”

With the passage of the Slavery Abolition Act in 1833, Great Britain ended slavery in the West Indies. In the years following Emancipation, the former slaves were indentured to their former masters before moving to a wage labor system. However, this period saw an economic decline in the region: sugar production drastically slumped, the price of sugar surged and little of the £20 million awarded to the West Indian planters under the Abolition Act was re-invested in the West Indies. !e economic woes prompted a Parliamentary investigation.

!e present letter, written by !omas Clarkson (1760-1846) the father of the British abolitionist movement, was written to a then sitting member of Parliament, Benjamin Hawes, a young but in"uential Whig politician. !e lengthy letter begins: “I have not the honor of knowing you personally, but only as an upright member of Parliament, and as such I take the Liberty of addressing you, knowing that you are now sitting as a member of a parliamentary committee for inquiring into West India concerns, as they relate to di#culties or impediments which may stand in the way of a fair remuneration to the planters in the cultivation of their estates. !is question, Sir, upon which you were called to deliberate, is of immense importance; and it will require the strictest impartiality, both towards the interests of the Masters and of the Servants to develop it, so as to come to a satisfactory conclusion; for if you take the side of the servants unduly against their masters you may become the means of enraging the former to make such exorbitant demands in the shape of wages, as to make it impossible for the latter to cultivate their Estates; and if, on the other hand, you take the side of the Planters unduly against their Servants, so that their wages will not enable them to live, the servants will refuse to work, and thus the Estates again will go uncultivated; and you cannot force these to labour by the whip, as they are now free Men.”

Clarkson continues by arguing against the blatant racism brought forth by the advocates of the planters to the committee: “... the Negroes of the present day are not the sort of People here described. !eir behaviour ever since the day of their Emancipation has been in general most exemplary and laudable. !ey have been moral, industrious, orderly and well disposed. Crime has so diminished amongst them, that the gaols are frequently quite empty ... You are aware, Sir, that in the days of Slavery nothing would exceed the vile management of a West India Estate. Negroes were obliged to carry manure in baskets on their heads to a plantation perhaps to a distance of a mile or more. Would not such practice be laughed at in England when a single mule and cart would have done three times the work?...”

!e letter continues with various arguments to prove that the economic troubles of the West Indian plantations were the result of mismanagement and not the freed slaves.

(#31578) $ 12,000 %& SLAVERY, West Indies.

Valuable Sugar Plantations, St. Kitts. Particulars of two valuable freehold estates in the parish of St. Paul, in the island of St. Christopher, consisting of two sugar plantations, called Mount Pleasant and White Gate, lying contiguous to each other, late the property of Joseph Rawlins, Esq. deceased ... containing nearly four hundred acres of very !ne cane, pasture, and mountain land, with two windmills, and other requisite building, two dwelling houses, two hundred and sixty-seven negroes.

London: Printed by T. Brettell, 1828. Folio. 3, [1]pp. Manuscript annotations. Unbound.

Unrecorded handbill advertising the sale of a sugar plantation and its slaves in St. Kitts.

!is folio-sized auction handbill records the sale by auctioneer John Strange Winstanley (1783-1852) at the Auction Mart, London on 10 September 1828, of two sugar plantations, Mount Pleasant and White Gate, situated on St. Kitts. !e sale particulars include details of the plantations, estate lands and buildings. Most signi"cantly are the descriptions of the slaves: “!e Negroes are in general "ne healthy people, and have increased twenty in number since 1819; they consisted, by a late return, of one hundred and four men and boys, ninety- four women and girls, and sixty-nine children.” Contemporary manuscript annotations adjust all the numbers (107 men, 91 women and 72 children), and note one slave that has been manumitted, for a total of 269 slaves being sold with the plantation.

!e "nal leaf bears a signed manuscript endorsement recording the sale price of sixteen thousand two hundred and "#y pounds to !omas !omas.

(#31586) $ 2,500 %& SOMERS, John, 1st Baron (1651-1716).

!e Judgment of Whole Kingdoms and Nations, concerning the Rights, Power, and Prerogative of Kings and the Right, Privileges & Properties of the People.

Newport: Solomon Southwick, 1774. 8vo (8 3/8 x 5 1/2 inches). 156pp. Uncut. Stitched self- wrappers. Modern cloth chemise and morocco-backed slipcase.

An important American edition of a classic work on the duties of a monarch and the rights of citizens, issued on the eve of the American Revolution.

An early American edition, styled “Twel!h edition, corrected” on the titlepage, this collection of material on the duties of a monarch and the settlement of 1689 contained important raw material for the arguments of the American colonies as the crisis of the Revolution neared. An important work, various editions of it appeared in the libraries of the Founding Fathers, including "omas Je#erson and John Adams.

Evans 13631; Sabin 86798

(#28822) $ 1,200 TRAVEL & VOYAGES

%& BORDONE, Benedetto (d.1531).

Libro di Benedetto Bordonne nel qual si ragiona de tutte l’isole del mondo.

Venice: Nicolò Zoppino, 1528. Small folio. [10],73 leaves, including four double-page maps and two single-page maps, and numerous woodcut maps and plans in the text. A few leaves misnumbered. Titlepage printed in red and black. Several early leaves trimmed a bit close at bottom edge. Several leaves with contemporary marginal manuscript annotations. Some light dampstaining to text. Later vellum over boards, leather ties.

!e "rst edition of one of the earliest and most comprehensive works on the islands of the world, and a tremendous achievement of world cartography.

Compared to the !rst work on world islands, or “Isolario,” by Sonetti (circa 1485), which contained only forty-nine maps, the 105 maps and plans included in Bordone’s e"ort mark a dramatic improvement in the attempt to map all known islands. Because of the rapid advances being made in the exploration of the New World, Bordone was able to include new cartographic representations of the north coast of South America, a substantial portion of New World island groups, and a new, dramatic rendering of the entire world.

#e map of the unnamed north coast of South America represents an early close illustration of what the Spanish referred to as “Terra Firma” and what would later comprise a large portion of the Spanish Main. Only four place names are given on the mainland: “Chanchite,” “Cuztana,” “Mazatambal,” and “Paria,” located in the Guianas. To the north lie Jamaica and Hispaniola, along with a cluster of other, most likely !ctional, islands. #e surrounding text describes Columbus’ forays in the region, a menacing island of cannibals, and more.

#e West Indies and other islands o" the coast of the Americas are treated in considerable detail. Jamaica, Hispaniola, Cuba, Guadeloupe, and Martinique are each represented in a separate map, while two additional maps of island groups show Antigua, St. Martin, Santo Domingo, Rodonda, Montserrat, a !ctional island representation of Brazil, and others. Like many works of this genre, the text includes lengthy treatments of each island, complete with brief histories and fantastical myths.

#e famous oval world map shows all of the known regions of the globe. Europe, Africa, and Asia Major are clearly labeled; but North and South America remain “terra del laboratore” and “ponete modo novo (part of the new world)” respectively, despite following by twenty- one years Martin Waldseemüller’s assertion that the new lands ought to be called “America” a$er Amerigo Vespucci. #e map of “Ciampagu” is considered by some to be the earliest known map of Japan printed in Europe. “For a long time Bordone’s world map was cited as the !rst drawn on an oval projection, prior to the discovery of Francesco Rosselli’s map of c. 1508 using this form of construction. References within Bordone’s book indicate that he had been occupied on its compilation for many years prior to publication...His 1528 map is undoubtedly based on Rosselli’s oval one although there are several points of di"erence; for instance the omission of all antarctic lands and the separation of Asia and America. Rosselli’s truncated form of South America is retained” - Shirley. Bordone did not limit himself to the creation of excellent maps for the use of contemporary navigators and explorers. !e view of Mexico City, captioned “La Gran Citta di Temistitan,” is one of the best early representations of the city, originally surrounded by water, before its destruction by Cortés. Numerous similar e"orts that followed Bordone’s work displayed an increasingly insular view of the North American continent, making his publication considerably accurate for its time.

A beautifully produced book and a cornerstone of early Americana.

Harrisse 145; European Americana 528/2; Sabin 6417; Sanz 1003; Borba De Moraes, pp.98-99; Phillips Atlases 162; JCB (3)I:98-99; Shirley, Mapping of the World 59; Kraus, World Encompassed 83; Burden, Mapping of North America 8; Suarez, Shedding the Veil 18; Leclerc 181; Rodrigues 426-27.

(#31295) $ 35,000 '( BRADFORD, William (1823-1892).

!e Arctic Regions. Illustrated with photographs taken on an expedition to Greenland by William Bradford. With descriptive narrative by the artist.

London: Chiswick Press for Sampson, Low, Marston, Low and Searle, 1873. Large folio (23 7/8 x 19 inches). Mounted on linen guards throughout, half-title, title in red and black, dedication leaf. 141 mounted albumen prints from wet collodion negatives, by John Dunmore & George Critcherson (one as a vignette on the title, one double-page, 24 full-page and 115 of various sizes on the text). Original brown publisher’s morocco by Leighton, Son & Hodge, a!er a design by Bradford, the covers elaborately blocked in gilt and black with a large centrally-placed vignette, titled “"e Arctic Regions” within elaborate neo-gothic #oral borders and panels, expertly rebacked to style, the spine in six sections with raised bands, marbled endpapers, gilt edges, edges and joints expertly repaired. Housed in an oatmeal cloth box, morocco lettering piece.

!e greatest of all the illustrated books on the Arctic and a major photographically-illustrated book.

American marine painter William Bradford, inspired by Elisha Kane and Lord Du$erin’s accounts of the Arctic, spent %ve seasons between 1861 and 1867 sketching along the coast of Labrador. In 1869, with the patronage of Le Grand Lockwood, he sailed as far north as Ba&n Island and Melville Bay on a purpose-built arctic steamer "e Panther, commanded by Captain John Bartlett and manned by a hand-picked Newfoundland crew.

"e expedition took place during the summer of 1869 “solely for the purposes of art”, although Bradford and his companions did %nd time for hunting (see photograph facing p.64). Bradford sketched and drew, and, according to recent scholarship, possibly took some of the photographs. Technical advice on the running of the expedition was provided by Dr. Isaac Hayes, an old Arctic-hand, who had %rst gone North with Elisha Kane’s expedition of 1853-1855. Accompanying Bradford were photographers John Dunmore and George Cricherson, from the well-regarded James Wallace Black Studio in Boston.

“"e three-month summer trip to the far North was a complete success. Not only did the expedition yield Bradford enough sketches and photographs to furnish him with motifs for years, but the published account of the journey became one of the nineteenth century’s most spectacular photographically illustrated travel books ... "e book was subsidized by Queen Victoria herself, along with several other members of the British Royal family, and there is no doubt that the volume is one of the most sumptuous of the century” (Parr and Badger).

Looking at the photographs it is easy to imagine the hardships that this pair must have endured. Using relatively primitive large-format plate cameras in highly hostile conditions, Dunmore and Critcherson managed to capture the majestic beauty of the region. As Bradford wrote in his preface “"ey were indefatigable in their e$orts to overcome the obstacles which were constantly presented, and which appeared really to have no end.” "eir photographs “may be counted not only amongst the earliest, but also the best polar photographs ... they conveyed both the harsh grandeur of the landscape through which they travelled, and the rigours of polar travel. "ey also contributed to, indeed largely invented, that staple of Arctic expedition photography, the tiny ship struggling through towering sheets of ice -- the classic, but nevertheless compelling cliche of man against the elements” (Parr and Badger).

Although no limitation is given, fewer than 300 copies of the work are thought to have been published. Contemporary advertisements reveal that even with the patronage received the publisher’s price was an extraordinary 25 guineas. Of the extant examples, the large work is o!en found in very poor condition, with signi"cant edge fading, as well as o#setting from facing images. $e present set, from the library of noted collector Richard Manney, is in lovely condition, with strong contrasts and colors to the images.

Parr & Badger, I, p. 31; Amherst/Shepard, American Painters of the Arctic (1975) pp. [9-10], no.34; Gernsheim Incunabula of British Photography (1984) 570; Grolier Truthful Lens 24; Van Haa!en Original Sun Pictures NYPL Bulletin 80 (1977) 258. See also Horch Photographs and Paintings of William Bradford, "e American Art Journal 5 (1973) 195-216.

(#31760) $ 175,000

%& CHAMPLAIN, Samuel de (1567-1635).

Les Voyages de la Nouvelle France occidentale, dicte Canada.

Paris: chez Claude Collet, 1632. Quarto (8 1/2 x 6 1/8 inches). Large folding engraved map on two sheets joined, 6 copper engraved illustrations (2 full-page), 2 woodcut illustrations. Old neat repairs at gutter edge of folding map. Contemporary speckled calf, !at spine ruled in gilt, red morocco lettering piece (expert repair to the rear joint). Housed in a brown chemise and morocco backed slipcase.

A !ne copy of the most important edition of Champlain, complete with its legendary map. Among the rarest and most signi!cant cartographically illustrated works of travel and exploration to North America.

Champlain’s work stands alone as a full, accurate, detailed account of New France in the "rst three decades of the seventeenth century. He was the "rst to systematically explore a large part of the coastline of New England reaching as far south as just below Cape Cod, and probably sighting Martha’s Vineyard; he can also be said to have initiated the exploration of the Great Lakes. In short, his work o#ers an historical and ethnological source without compare. $is excellence extends to the illustrations: the six engravings which appear in this edition, identical to those which illustrated the 1619 Champlain, are some of the most accurate illustrations of Indians to appear before the nineteenth century.

According to Church, “Of all the editions of Champlain, this is the only complete one.” $e "rst part contains abridged accounts of the "rst six voyages of Champlain, through 1613 (those covered in the volume published that year) and a full account of the seventh voyage of 1615-17, with a brief note on the eighth. $e second part contains a full account of the ninth voyage and a history of Canada for the period 1620-31; this material appears here for the "rst time. $e treatise on navigation makes its "rst appearance here, as well.

Champlain’s Voyages is, of course, justly celebrated for its large and legendary map, found here but almost always lacking. $e present very "ne example is Burden’s second state of the landmark map, aptly described as the “last and greatest [map] produced by Champlain ... the prototype of later European maps for nearly a century” (Cumming, $e Discovery of North America). Described by Heidenreich as “a mothermap,” it “records virtually the full extent of ... [Champlain’s] magni"cent contribution to the geographic knowledge of northeastern North America” (Heidenreich/Dahl p.4). Burden writes that the map “could be labelled the "rst to depict the existence of the entire Great Lakes network ... $e map covers the same territory as [the map]... of c.1616, but contains far greater detail, extending south as far as the Virginia colonies. $e New Netherlands provides one of the areas of most interest in using nomenclature that is of unknown origin. $e Hudson River is here called the Riviere des trettes, and Long Island Isle de l’Ascension. Above these is a reference to an unidenti"ed tribe, ‘Habitation de sauuages maniganaticouoit’. $e church depicted is clearly an indication of the Dutch presence in the region and must be construed as the "rst delineation of present day New York City on a printed map” (Burden, $e Mapping of North America p.295). $e second state of the map includes changes to the eastern side of the Grand Banks, and Cape Breton is now depicted with a chain of mountains rather than a lake.

Champlain’s contribution to the exploration, description and mapping of North America is unique: he is the only individual who not only explored vast areas personally, but who also published maps and descriptions of what he had seen: “posterity is fortunate that in Champlain, experience was combined with scienti!c skill; otherwise the information he gathered would have been lost” (Heidenreich).

"is example with the cancelled leaves D2-3 replacing the o#ensive passage regarding Richelieu, as usual. "e book was dedicated to Cardinal Richelieu and the cancelled leaves replace a !ve-line passage which was supposed to be held objectionable by him, namely that great princes might know well how to conduct the government of a kingdom, and yet not know how to sail a ship.

Cf. Burden !e Mapping of America 237 (State 1); cf. Cumming, Skelton & Quinn Discovery of North America pp.286-287; Church 420 & 446; cf. Fite & Freeman pp.132-4; cf. Heidenreich ‘An Analysis of the 17th Century Map “Nouvelle France,” in Cartographica, vol.25, no.3, pp.36, 89-97; cf. Heidenreich/Dahl ‘!e French Mapping of North America’ in !e Map Collector, issue 13, pp.4-5; Karpinski p.28, pl.I (pp.34-5); Kershaw pp.78-83; Lande 118; Pilling 464; Sabin 11839; cf. Schwartz/Ehrenberg p.89, pl.48 (p.93); Stokes II, pp.127 & 141; Streeter Sale 3631.

(#31299) $ 280,000

'( [CHINA, East India Company Press] - DAVIS, John Francis (1795-1890) and Robert MORRISON (1782-1834).

San-Yu-Low: or the !ree Dedicated Rooms. A tale translated from the Chinese ... [Bound following:] Translations from the Original Chinese with notes.

Canton [but Macau], China: Printed by order of the Select Committee; at the Honourable East India Company’s Press, by P. P. !oms, 1815. 2 volumes in one, 8vo (8 1/4 x 5 1/4 inches). [Translations:] [2],42 [numbered without pages 9-10, as issued]; [San-Yu-Low:] [2], 56pp. Signature B in the second work inverted. Stitched together, plain yellow rear wrapper (upper wrapper lacking).

!e "rst two works published at the East India Company press at Macau, bound together: a milestone in the history of Western printing in China.

!ese works mark an important step in the history of printing in China, being the "rst works to employ moveable type printed in China since the two or three works printed by the Jesuits at the end of the sixteenth century.

“!e Chinese authorities at Canton were strict to the point of fanaticism in all that represented the introduction of new thought into China. !ey might not have opposed the introduction of Christianity, as a religion, but what they feared was the introduction of the new ideas which were part of this religion - ideas that would have con#icted with all the age-old traditions, the classical system of learning and their customs and usages, so closely associated with their system of government. !us, they would never, at that time, have permitted a printing press run by foreigners at Canton or elsewhere in Chinese territory, and it was kept therefore at [the Portuguese outpost at] Macao. Owing to the friendly relations subsisting between the senior members of the East India Company’s sta$ and the Portuguese o%cials at Macao, the latter decided to behave generously and to close an eye, since they could not give their formal consent, all printing in the Portuguese overseas territories being, as has been shown, absolutely prohibited” (Braga). So as not to present their Portuguese hosts any trouble for this allowance, !e East India Company press omitted the name Macau from their earliest imprints there, and instead added a false Canton imprint, as on these two works.

Davis, the translator of San-Yu-Low, a story from an anthology by Lu Yu, would accompany Lord Amherst on his 1816 Embassy and would later serve as the Governor of Hong Kong. !e Morrison work, published prior to his famed dictionary, are “translations of edicts and memorial from the Peking Gazette (Ching pao), including items dealing with sect outbreaks” (Lust). !is copy of the Morrison work the presumed "rst issue, without the subsequently published pages 43-50, found only in the Lowendahl copy and in one (of four) copies held by the British Library.

!ese two works are both very rare, with only the Philip Robinson copies appearing at auction in the last thirty years.

Braga, “!e Beginnings of Printing at Macau”, in Studia (Revista Semestral), No. 12 (July 1963), pp. 56-61; Cordier 1769-1770 and 538; Lust 1099 and 477; Lowendahl 799 and 783.

(#31593) $ 7,250

'' (COOK, Captain James [1728-1779]) - John HAWKESWORTH (1715-1773).

A New Voyage, Round the World, In the Years 1768, 1769, 1770, and 1771; undertaken by order of his present Majesty, performed by, Captain James Cooke, in the ship Endeavour, drawn up from his own journal, and from the papers of Joseph Banks.

New York: printed by James Rivington, 1774. 2 volumes, octavo (7 3/8 x 4 1/4 inches). [2],17,4,[2],260; [2],250pp. 2 folding engraved frontispieces (one engraved by Paul Revere), 1 folding world map engraved by Bernard Romans. Contemporary speckled calf, rebacked, gilt leather label.

Rare !rst American edition of Cook’s First Voyage, with a plate engraved by Paul Revere and the !rst world map to be published in America.

!e "rst American edition of any of Cook’s voyages, issued in New York on the eve of the American Revolution by the Loyalist printer, James Rivington. !e work contains one of Paul Revere’s more exotic copper plate engravings and the "rst world map printed in the Americas. Hawkesworth’s account of Capt. James Cook’s "rst voyage to the Paci"c "rst appeared in 1773. One of the most important publications in all of the literature of exploration and voyages, it describes Cook’s important explorations of Australia, discovery of New Zealand, adventures on Tahiti, and a wealth of other material. !e tremendous interest in the voyage is re#ected in this American edition, only the second work devoted to Paci"c exploration to be published in an American edition. “!e frontispiece by Paul Revere and the Romans map make this a distinguished book” (Streeter).

!e publisher, Rivington, later famous as the New York Loyalist printer of the Revolution, made every e$ort to make this product of the British colonial press as elegant as possible.

!e folding frontispiece to the "rst volume is by the Revolutionary hero, silversmith and engraver, Paul Revere. It is a version of plate 7 by F. Bartolozzi that is usually found facing p.265 in vol.II of the "rst English edition. According to Clarence Brigham, Revere worked from a reduced reversed version of this plate published in !e Town and Country Magazine (June, 1773, vol.V, p.313), a copy of which was sent to him by the publisher Rivington (via Henry Knox of Boston) in April 1774. Rivington asked that Revere engrave the image “with all the ability in his power and let it be done as soon as possible” (letter to Knox, dated 8 April 1774). !e "nal result (about "%y per cent smaller than Bartolozzi’s original) amply demonstrates the charming naïveté that is such a hallmark of Paul Revere’s work. Revere’s day book shows that he charged £4-0-0 for the plate (see 3 May 1774 entry). Importantly, the plate is the "rst visual image of the South Seas to be printed in America.

!e folding frontispiece to the second volume is unsigned, but is a composite of two images that both originate with drawings by Sydney Parkinson, the o&cial draughtsman/artist on the voyage. !e image is divided in two vertically: the le% side of the plate is of a New Zealander. !e original of this image was eventually engraved by T. Charles and published in Parkinson’s A Journal of a Voyage (London: 1784) facing p.88. !e right side is of two Australian aboriginals. !e original of this image was also engraved by T. Charles and in Parkinson’s work opposite p.134. !e untitled map is the "rst map of the world to be published in the Americas. A Mercator projection designed to show the track of Cook’s voyage, it also shows the course charted by Bougainville as well. It was designed and engraved by the famous American mapmaker, Bernard Romans, best known for his work as a naturalist and cartographer in Florida, as well as his sailing directions of the East Coast and an engraved map of Connecticut. A rare American cartographic landmark, found as originally published in the "rst American edition of any of Cook’s voyages, itself a signi"cant issue of the late British colonial press.

Beddie 656; Brigham Paul Revere’s Engravings pp 102-105; L. Diamant Bernard Romans pp.29-30; Evans 13324; Holmes 9; Sabin 30936; Streeter Sale 2407; Wheat & Brun Maps and Charts Published in America before 1800 1.

(#28258) $ 22,500 %& [COOK, James (1728-1779)] - John LEDYARD (1751-1789).

A Journal of Captain Cook’s Last Voyage to the Paci!c Ocean, and in Quest of a North-West Passage, Between Asia & America performed in the years 1776, 1777, 1778, and 1779.

Hartford: printed and sold by Nathaniel Patten, 1783. 8vo (6 5/8 x 4 3/8 inches). 208pp. (Without the folding map, as usual). Small areas of expert restoration to two leaves. Expertly bound to style in full tree calf, !at spine ruled in gilt, red morocco lettering piece.

First edition of the !rst American book on Hawaii and the northwest coast of America, and the only American account of Cook’s third voyage.

John Ledyard was the only American to serve on Cook’s third voyage, aboard the Resolution, as a Corporal of marines, and witnessed Cook’s death in Hawaii as he was one of the oarsman of the boat Cook took ashore. On the expedition’s return, all the journals were retained by the British Admiralty, but, a"er he returned to his family in Connecticut, Ledyard was persuaded to rewrite his journal from memory, which was then published. Although believed by some to be based partially on Rickman’s narrative, Ledyard’s journal contains information not available elsewhere, including the #rst published description of the Russian settlement at Unalaska.

“Ledyard is an important #gure in the history of American contacts in the South Seas. Not only was he the #rst New Englander in the Paci#c, but he went there with the great Captain Cook, and was with him when Hawaii was discovered. Ledyard visualized in the minutest detail the northwest coast China trade” (Hill). Ledyard went on to carry out some remarkable overland journeys, before accidently killing himself in Cairo by drinking vitriol.

Ledyard’s Journal is a noted rarity and copies with the map are almost unknown in today’s market (and possibly not issued with all copies).

Beddie 1603; Evans 17998; Forbes I, 52; Hill (2004) 991; Howes L181; Lada-Mocarski 36; Sabin 39691; Streeter Sale 3477; Wickersham 6556; Davidson, pp 64-5; Judd 108.

(#30272) $ 15,000

&' EVELYN, John (1620-1706).

Navigation and Commerce, their original [sic.] and progress. Containing a succinct account of tra!ck in general; its bene"ts and improvements: of discoveries, wars and con#icts at sea, from the original of navigation to this day; with special regard to the English nation, their several voyages and expeditions, to the beginning of our late di$erences with Holland; in which His Majesties title to the dominion of the sea is asserted, against the novel, and later pretenders.

London: T.R. for Benj. Tooke, 1674. Octavo. Errata leaf in the rear. Expert repairs to margins of title. Modern calf.

First edition of this “interesting compilation of facts concerning the economic history of Great Britain and Holland” (Keynes).

!is work was originally intended as the "rst part of a history of the war with the Dutch. It was undertaken at the wish of King Charles II, but no more than the present work was ever published. Its publication greatly displeased the Dutch, as was intended, and the Dutch ambassador demanded that the work be suppressed. Evelyn wrote that “his Ma[jes]ty told me he must recall [the book] formally, but gave order that what copies should be publicly seiz[e]d to paci"e the Ambass[ado]r, should immediately be restor[e]d to the printer, and that neither he nor the vendor should be molested.” Evelyn goes on to note that the o#cial line that the book was being suppressed actually helped its sale.

In relating this history, the author emphasizes the progress of Great Britain in her many exploits at sea, expeditions to the Indies, America and so forth, and dwells on the tremendous in$uence the development of navigation had on the trade of resources found in the new territories acquired. Evelyn notes the signi"cance of the voyages of Columbus, Vespucius, Cabot, Drake, Hawkins, Cavandish, Frobisher, Hudson and other early navigators, and includes some information regarding whale "shing, pirates and Virginia.

Keynes 92; Sabin 23028; Wing E-3504; Kress 1358; Goldsmiths 2078.

(#31502) $ 3,500 "# FRITH, Francis (1822-1898).

Sinai and Palestine ... [With:] Lower Egypt, !ebes, and the Pyramids ... [And with:] Upper Egypt and Ethiopia.

London: William MacKenzie, [1863]. 3 volumes, small folio (16 7/8 x 12 inches). 111 mounted gold-toned albumen photographs (additional title with mounted vignette and 36 photographs, in each volume). Scattered minor foxing at sheet edges. Expertly bound to style in half black morocco and publisher’s period cloth covered boards, spines with raised bands in six compartments, ruled in gilt on either side of each band, lettered in gilt, marbled endpapers, gilt edges.

!e best edition of Frith’s photographs of Upper and Lower Egypt and the Holy Land.

By the mid 1850s, Frith had sold his grocery and printing businesses to devote himself full time to photography. Between 1856 and 1860, he made three expeditions to Egypt, Sinai, Ethiopia, and Jerusalem, photographically documenting Middle Eastern architecture and culture. “On the !rst, he sailed up the Nile to the Second Cataract, recording the main historic monuments between Cairo and Abu Simbel. On the second, he struck eastwards to Palestine, visiting Jerusalem, Damascus and other sites associated with the life of Christ. !e "nal expedition was the most ambitious, combining a second visit to the Holy Land with a deeper southward penetration of the Nile. His photographs of the temple at Soleb, 800 miles south of Cairo, represent a genuinely pioneering achievement. Unlike many travel photographers of this period, Frith used the wet collodion process in preference to the more convenient paper- based calotype. Because it involved chemically sensitizing the glass plates on site, this process posed particular problems in a climate dominated by heat, dust and insects. Commenting sardonically on how his chemicals o#en boiled on contact with the glass, he nevertheless produced negatives that are remarkable for their consistently high technical standard ... Frith photographed most of the key monuments several times, combining general views with close studies of their signi"cant details and broader views of their landscape environment. !e clarity of his images proved to be of immense value to archaeologists. !e photographs are also o#en powerfully composed, revealing an understanding of the poetic qualities of light that gives them lasting aesthetic value” (McKenzie, Grove Art).

Upon his return to London, Frith "rst published his photographs under the title Egypt and Palestine Photographed and Described, in two volumes with 76 photographs. Various other works followed, including his elephant folio Egypt, Sinai and Jerusalem in 1860 with 20 albumen images, as well as a deluxe edition of the Queen’s Bible illustrated with 57 photographs of the Holy Land in 1862. !e present set was published by Mackenzie in 1863 comprised of four volumes: Sinai and Palestine; Lower Egypt, !ebes and the Pyramids; Upper Egypt and Ethiopia; and a supplementary volume titled Egypt, Sinai and Palestine. Each volume contained an illustrated title and 36 mounted photographs, for a total of 148 images. !e "nal volume, evidently issued subsequent to the previous three, was a supplementary volume and is not present here, as is o#en the case.

Comparing these volumes to Frith’s 1858-59 Egypt and Palestine Photographed and Described, Gernsheim refers to the present set as the “second, enlarged edition.” While there are certainly similarities between the two works, including images printed from the same negatives and with some identical textual descriptions, in many ways the present set is an entirely di$erent work. Whereas the earlier work was issued in parts with a random ordering of the images, the present set is organized based on Frith’s expeditions, yielding a better visual narrative of his experience. Furthermore, many of the images appear here for the "rst time, having not been included in any form in the original edition, and many images are variants of views from entirely di$erent negatives than those appearing in the earlier work. Of this latter category, some are slight variants from the same location and angle (e.g. !e Sphynx and Great Pyramid, Gezah; Temple of Koum Ombo; etc.), but others are entirely di$erent compositions of the same location (e.g. Entrance to the Great Temple, Luxor). Finally, a number of images from the previous edition are not used here at all (e.g. Protestant Episcopal Church, Jerusalem; Sculptures from the Outer Wall, Dendear; etc.).

Perhaps most signi"cantly, however, are the size of the images (being slightly larger in the present work) and the quality of images. Gernsheim writes: “!e prints in this edition are of a much stronger quality than those in the "rst edition having been gold-toned.” !e process of toning the albumen prints with gold chloride and other solvents both intensi"ed the blacks and helped prevent fading and yellowing, yielding an overall better quality of images.

Gernsheim 195

(#31437) $ 37,500

&' HALL, Daniel Weston (b. 1841).

Arctic Rovings: or the Adventures of a New Bedford Boy on Sea and Land.

Boston: Abel Tompkins, 1861. 12mo (6 5/8 x 4 inches). 171, [4]pp. Frontispiece portrait. Publisher’s advertisements in the rear. Publisher’s blue cloth, covers stamped in blind, spine gilt.

A scarce account of a teenager’s adventures at sea, including Paci!c whaling experiences and visits to Hawaii and the Arctic.

During a three-month stay in Honolulu, Hall witnessed a volcanic eruption and planned his escape from the cruel captain of the whale ship Condor. A!er some whaling adventures in the Paci"c, Hall deserted ship along the coast of Siberia, near the bank of the Oudskoi River. He was eventually rescued as a result of his father’s e#orts back home in New Bedford. One of the reasons Hall published this work was to call the public’s attention to the severe punishments su#ered by seamen, especially in the whaling $eet, and to encourage the reform of discipline at sea. Includes a chapter entitled “Peep at the Whale Fisheries.” Not in Hill.

Sabin 29745; Forster 469; Forbes 2422

(#31581) $ 1,200 %& KRUSENSTERN, Adam Johann von (1770-1846).

Voyage round the World, in the Years 1803, 1804, 1805, & 1806, by order of His Imperial Majesty Alexander the First, on board the ships Nadeshda and Neva, under the command of Captain A. J. von Krusenstern, of the Imperial Navy ... Translated from the original German by Richard Belgrave Hoppner, Esq.

London: Printed by C. Roworth ... for John Murray, 1813. 2 volumes in 1, quarto (10 1/2 x 8 1/2 inches). xxxii, [4], 314; [10], 404pp. Folding map, 2 hand coloured aquatint plates by Atkinson. Contempoary olive polished calf, bordered in gilt and blind, expertly rebacked to style, marbled endpapers and edges. Provenance: Sir William Douglas (armorial bookplate).

First edition in English of the account of the !rst Russian voyage around the world and of particular importance relating to the North Paci!c, Alaska and the Arctic regions.

“Captain Kruzenshtern [or Krusenstern, 1770-1846], appointed to command the !rst Russian round-the-world expedition, had serving with him a brilliant corps of o"cers, including Lisiansky, Langsdor#, and Kotzebue. $e expedition was to attempt to ‘open relations with Nippon and the Sandwich Islands, to facilitate trade in South America, to examine California for a possible colony, and make a thorough study and report of the Northwest coast, its trade and its future.’ Kruzenshtern was troubled by Russian dependence on England for naval personnel and training; he proposed this voyage as a means of forming a Russian-trained navy in the course of obtaining furs and trading them for Chinese goods. !e importance of this work is due to its being the o"cial account of the #rst Russian expedition to circumnavigate the globe, and the discoveries and recti#cations of charts that were made, especially in the North Paci#c and on the northwest coast of America ...!e introduction is particularly important and interesting because of the information it contains respecting the state of Russian commerce during the eighteenth century, the Russian voyages and discoveries in the Northern Ocean, and the Russian fur trade. Kruzenshtern also took the #rst Russian embassy of Nikolai Rezanov to Japan; while not successful in establishing diplomatic or trading relations with Japan, the published knowledge of the Japanese was increased very much thereby” (Hill).

First published in St. Petersburg between 1809-1814 (with an excessively rare atlas of plates), a German edition followed in 1811-1812, with the present #rst English edition based on that translation in 1813.

Abbey, Travel, 1; Arctic Bibliography 9381; Borba de Moraes I, page 441; Forbes 443; Gra! 2358; Hill 952; Kroepelien 693; Howes K272; Judd 97; Sabin 38331; Smith 2078; Streeter sale VI, 3505; Wickersham 6234; cf. Lada-Mocarski 61 and 62.

(#30276) $ 22,500 &' [LA PÉROUSE, Jean François de Galaup, comte de (1741-1788)] - CREPIN, Louis Philippe (1772-1851), a!er.

Naufrage de Mm. De Laborde sur les Canots de La Peyrouse au Port des François dans la Californie.

[Paris: Ostervald, circa 1806]. Engraved by Prot and Dissard. Sheet size: 22 1/8 x 29 inches.

Rare print depicting the tragic loss of two launches during La Perouse’s expedition in Lituya Bay, Alaska.

“La Pérouse’s expedition [aboard the frigates Astrolobe and Boussole] was one of the most important scienti"c explorations ever undertaken to the Paci"c and the west coast of North America ... #e charge to the expedition [which took place between 1785 and 1788] was to examine such parts of the region as had not been explored by Captain Cook; to seek for an interoceanic passage; to make scienti"c observations on the various countries, peoples, and products; to obtain reliable information about the fur trade and the extent of Spanish settlements in California; and to promote the inducements for French enterprise in that quarter ... La Pérouse sent dispatches back to France from Kamchatka and Botany Bay. #e two ships then set sail from Botany Bay, in 1788, and were never heard from again” (Hill).

In July 1786, La Perouse arrived at a majestic looking inlet o$ the southeast coast of Alaska. Naming the bay Port des Francais (present day Lituya Bay), La Perouse cautiously guided his ships into the %ord, eventually anchoring in the shelter of a small island at the head of the bay. A!er exploring and trading with local natives, on 13 July 1786, three small launches set sail back into the inlet to take soundings prior to the continuation of the expedition. Venturing too close to the entrance where the Paci!c Ocean tidal currents created hazardous conditions, one of the boats capsized; the second boat (captained by Édouard Jean Joseph de Laborde de Marchainville) attempted to rescue the drowning sailors on the !rst, but su"ered the same fate; the third boat, realizing the danger, returned to the safety of the inlet. In all, 21 sailors were lost.

#e present engraving, a$er a painting by noted French marine painter Louis Phillipe Crepin, depicts the above scene, with the !rst boat sinking in the foreground, the second boat throwing a line at the right, and the third ship returning toward the head of the bay, with La Perouse’s ships just visible behind the island at center le$. #e background is dominated by majestic snow-capped mountains, accurately depicted the beauty of the bay. As the title of the print suggests, the painting and engraving were done in honor of the fatal heroism of Édouard Jean Joseph de Laborde de Marchainville, who is depicted at the bow of the second boat throwing a line to the !rst launch, as well as his brother Ange de Laborde de Boutervilliers, who was aboard one of the two launches. #e print is dedicated to their brother, French antiquary and Napoleonic politician Louis-Joseph-Alexandre de Laborde. #e above scene is described in the second volume of La Perouse’s o%cial narrative, published in 1797; Crepin’s painting is believed to have been done in 1806.

Rare: we can only !nd examples in the Bancro$ Library and Yale, both of which have later colouring and are in poor condition.

(#31698) $ 6,000

'( LABILLARDIERE, Jacques Julien Houton de (1755-1834).

Relation du Voyage à la Recherche de La Pérouse ... [With:] Atlas pour servir à la Relation du Voyage à la Recherche de La Pérouse ...

Paris: Chez H. J. Jansen, An VIII [1799-1800]. 3 volumes (text: 4to [11 3/4 x 9 inches]; atlas: folio [21 x 13 1/2 inches]). Atlas: Engraved title, folding map, and 43 plates. Half titles in the text. Text and atlas uncut. Text in contemporary blue patterned paper-covered boards, rebacked to style; atlas bound to style in period uniform blue patterned paper covered boards, paper spine labels.

A !ne uncut set of the !rst edition of the o"cial published account of the search for La Pérouse, by the naturalist on the d’Entrecasteaux expedition.

A$er three years had passed with no news of the fate of the La Perouse’s ships, in 1791 a new expedition was launched with the dual mission of searching for La Perouse but also making inquiries into the natural sciences and commerce of the region. “Rear-Admiral Bruny D’Entrecasteaux received command of the expedition which consisted of two ships of about !ve hundred tons burden [La Recherche and L’Espérance] ... Proceeding via the cape of Good Hope to Tasmania, extensive investigations of its coastline were made. New Caledonia, the Solomon Islands, the Admiralty Islands, Tonga, New Britain and other groups were visited, but ... no trace of the missing navigator was found ... #e expedition made several important contributions to geographical knowledge, and the investigations of the naturalists into productions of countries visited were of special value” (Ferguson).

!e work is particularly interesting for its descriptions and illustrations of Tasmania, Tonga, New Caledonia, and New Guinea, and the atlas contains outstanding views of these areas by the o"cial artist Piron. Included is a famous engraving of a black swan, the #rst large depiction of the exotic Australian bird. Fourteen botanical plates, all by or produced under the direction of Redouté, the most famous of all botanical artists, include two of Eucalypts and two of Banksias.

Labillardière, botanist on the voyage, remains an important #gure in early Australian science as the author of the #rst extensive monograph on Australian botany. Labillardière’s account is one of very few eighteenth-century accounts of Australian exploration, and the only major French account of the continent in the early settlement period to be published in the same century. !e narrative based on the commander d’Entrecasteaux’s own papers did not appear until 1808 (i.e. a$er the restoration of the monarchy).

!e #rst edition was published with the text in two forms: in quarto [as here, Ferguson 307] or octavo [Ferguson 308]. !e quarto text , uniform in size to the #rst edition text of La Perouse, is greatly preferred.

Ferguson, 307; Hill, 954; Kroepelien, 697; McLaren, Lapérouse in the Paci!c, 51; Nissen, ZBI 2331; Sabin 38420.

(#21588) $ 13,500 $% MAY, Lieutenant Walter William (1830-1896).

A Series of Fourteen Sketches made during the voyage up Wellington Channel in search of Sir John Franklin, K.C.H., and the missing crews of H.M. Discovery-Ships Erebus and Terror; together with a short account of each drawing.

London: Day and Son, 1855. Folio (14 1/4 x 10 3/8 inches). Letterpress title (verso blank), 4pp. text, 1p. List of Subscribers (verso blank). 14 tinted lithographed plates printed by Day & Son on 13 leaves (13 views a!er May on 12 plates, drawn on stone by by J. Needham [4], "omas Goldworth Dutton [4] and others), 1 plate of “Franklin Relics brought [home] by Dr. Rae”). Publisher’s lettered sti# paper wrappers, rebacked to style with green cloth. Housed in a green morocco box. !e principal visual record of the search for Franklin and a rare work of Arctic views.

May, a trained marine artist, served as a lieutenant on Sir Edward Belcher’s expedition on the Assistance, which searched the Wellington Channel between 1852-54 for the missing Franklin. May’s Fourteen Sketches provides a spectacular record of this “last of the arctic voyages” containing accurate and atmospheric images covering many aspects of the expedition. !e "nal plate is of particular interest and is o#en reproduced as it depicts the Franklin relics which Dr. John Rae bought from an Inuit who had found them at the mouth of the Great Fish River: i.e. the "rst "rm evidence of the fate of Franklin and his men.

Belcher was never really suited to command, and throughout his career accusations of his overbearing ways had followed him. May experienced Belcher’s bullying "rst hand, eventually responded in kind and was relieved of his duties by Belcher during the expedition. However, on the ship’s return to England, May was exonerated and promoted.

Abbey Travel II, 646; Sabin 47083; Staton & Tremaine 3454.

(#29122) $ 16,000 #$ OGILBY, JOHN (1600-1676).

Africa: being an accurate description of the regions of Ægypt, Barbary, Lybia, and Billedulgerid ... collected and translated from the most authentick authors, and augmented with later observations.

London: !o. Johnson for the author, 1670. Folio (15 3/4 x 10 3/8 inches). Title in red and black. Engraved frontispiece, 59 engraved maps and plates (including 10 “half-sheet” views), numerous in-text engravings, 9 leaves of letterpress tables. Extra-illustrated with an additional plate from Ogilby’s America (Angra). Contemporary reverse calf, expertly rebacked to style, red morocco lettering piece. Housed in a modern full red morocco box.

A wide-margined, complete copy of the most authoritative 17th-century account of Africa published in English.

!e author alludes to the genesis of this important and beautifully illustrated work in the preface, claiming to have made substantial progress in his own researches for the present work when “a Volumn [sic.] lately Publish’d ... in Low-Dutch, came to my hands, full of new discoveries ... set forth by Dr. O.[lfert] Dapper, a Discreet and Painful Author, whose large Addition, added to my own Endeavors [sic.], hath much Accelerated the Work”. In fact almost all of the plates and text can be traced back to Dapper’s Naukeurige beschrijvinge der Afrikaensche gewesten van Egypten, "rst published by the engraver Jacob Van Meurs in Amsterdam in 1668. It is now Dapper’s best known work. Although he was not a traveller, Olfert Dapper (1635-1690) spent three years compiling information for the book, using the most reliable published works from a number of "elds (geography, economics, politics, medicine, social life and customs) as well as many unpublished travellers’ accounts. !e wide range of sources he consulted allowed him to cross-check and eliminate some of the wilder tales, and to produce a narrative that was generally much more reliable than earlier accounts and which remains a key text from the era.

Ogilby’s work is the most authentic and comprehensive work on Africa in English published in the seventeenth century and is of particular interest for the accounts of the natives in southern Africa. !ough separately issued, the work was intended as the "rst volume in a planned “English Atlas” series, and is sometimes found with an additional half-title with the series title (as here), or with the spine numbered as volume one. Besides the above explanation on the sources used, Ogilby’s preface, dated April 28, 1670, is of note as it contains the only autobiographical details on the great historian.

As with many of Ogilby’s works, the collation of a complete copy is of some bibliographic confusion, partly owing to discrepancies between the list of plates and the contents at the time of publication. !e present copy is absolutely complete, with the o#en lacking view of the Royal Palace at Morocco and the addition of the unlisted portrait of Prince Zeri$.

Lowndes III, p.1719; Wing O-163; Mendelssohn (1979) 3, p.571; Tooley, Africa, p.87.

(#31205) $ 12,500 "# PORTLOCK, Nathaniel (1748-1817).

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: Printed for John Stockdale, and George Goulding, 1789. Quarto (11 x 8 3/4 inches). xii, 384, xl pp. 20 engraved plates, charts and maps (6 folding charts or maps, 2 engraved portraits, 12 engraved plates [the 5 ornithological plates with contemporary hand-colouring, as issued]). Contemporary speckled calf, covers with a Greek key scroll border, expertly rebacked to style, !at spine divided into six compartment, red morocco lettering piece in the second, the others with a repeat decoration in gilt. Provenance: Baron Ormathwaite (armorial bookplate).

Rare deluxe issue with hand coloured plates of the !rst edition of a classic narrative of the early exploration on the Northwest coast. Portlock, a veteran of Cook’s third voyage, and Dixon were sent by the King George’s Sound Company to the Northwest coast of North America to investigate the economic possibilities of the fur trade there. En route, they had a long stay in Hawaii, and Portlock’s narrative of this visit is of particular interest since Portlock and Dixon were the !rst captains to visit the Hawaiian islands since the death of Cook. He gives an important account of the situation there, already much altered by European contact. "e voyage then proceeded to the Northwest to survey the region. Portlock and Dixon separated, with Portlock exploring northward up the Alaskan coast and Dixon proceeding southward to Nootka Sound. Both Dixon and Portlock published accounts of the voyage, but Portlock is of greater value for his particularly vivid descriptions of the Native Americans and Russians in the region.

In addition to the lively narrative, the work is well illustrated with 20 plates and maps: these include a !ne large folding general map of the Northwest Coast, and !ve maps of particular harbours along the coast. In the regular issue, the !ve bird plates are uncoloured and the text is printed on laid paper. A contemporary advertisement announcing the publication o#ers “a few copies ... printed on !ne paper, hot pressed and plates coloured.” "ese deluxe issues, as here, are considerably more rare than the usual uncoloured examples. Besides the obvious bene!t of hand coloured illustrations, the paper used for the text of this deluxe issue is a higher quality paper.

Forbes Hawaii 177; Judd Voyages 147; Hill (2004) 1376; Howes P487 “b.”; Lada-Mocarski 42; Sabin 64389; Streeter Sale 3485; TPL 599; Wagner Northwest Coast 738-43; Wood p.523.

(#30279) $ 17,500 %% SCORESBY, Jr., William (1789-1857).

Journal of a Voyage to the Northern Whale- Fishery.

Edinburgh: printed for Archibald Constable & Co., and Hurst, Robinson & Co. of London, 1823. 8vo (8 1/2 x 5 1/4 inches). Half-title. 8 engraved plates and maps (comprising: 1 folding map, 2 folding plates, 4 plates). Some light foxing. Contemporary half calf and brown pebbled cloth covered boards, spine with raised bands, morocco lettering piece.

First edition of the most important work by one of greatest of all Arctic explorers: “Geographically ... Scoresby’s discoveries were greater in importance and number than those of any other single navigator in northern waters” (Hill).

“!is book is an account of a voyage in which several weeks were spent in whaling and in the exploration of the Scoresby Sound region, in a search for Eskimo settlements and in quest of magnetic and other scienti"c observations. Included are descriptions of ice conditions, physical features, ocean currents, and ruins of Eskimo dwellings. !e nine appendices include a list of plants by Sir W.J. Hooker, and extracts from the 1822 journals of two other whalers, the Hercules of Aberdeen, Captain !omas Fairburn, and the Trafalgar of Hull, Captain Lloyd” (Hill).

Scoresby’s "nal Arctic voyage on the ship Ba#n was to the relatively unknown eastern coast of Greenland in 1822. As weather conditions allowed him to approach close to shore, his chart of that coast, from 69°N to 75°N, was the most accurate of the time and included several new discoveries, including Scoresby’s Sound which he named in honor of his father.

Arctic Bibliography 15614; Sabin 78171; Hill 1543.

(#31611) $ 1,000 &' STAUNTON, Sir George Leonard (1737-1801).

An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China ... Taken chie!y from the papers of His Excellency the Earl of Macartney.

London: W.Bulmer & Co. for G.Nicol, 1797. 3 volumes (text: 2 vols, quarto [10 3/4 x 8 3/4 inches], atlas vol.: large folio [22 1/2 x 17 inches.)] Text: 2 engraved portrait frontispieces, of Emperor Tchien Lung in vol.I and the Earl Macartney in vol.II, 1 plate, 26 vignette illustrations a!er William Alexander and others. Atlas: 44 engraved views, plans, plates, charts or maps (including a large folding world map, 3 natural history subjects and 25 views). Text: contemporary tree calf, "at spine divided into six compartments, lettered in gilt in the second compartment, the others with a repeat decoration in gilt. (Expert repairs at top and tail of spine). Atlas: expertly bound to style in half calf over period brown paper covered boards, spine gilt uniform to the text. Provenance: Sir #omas Courtenay Warner, 1st Baronet (armorial bookplate in text).

First edition of the o"cial published account of the #rst British embassy to China, headed by the Earl Macartney: complete with the atlas of maps and plates.

George Macartney, 1st Earl Macartney (1737-1806) was dispatched to Beijing in 1792 traveling via Madeira, Tenerife, Rio de Janeiro, the Cape of Good Hope and Indonesia. He was accompanied by Staunton, and a retinue of suitably impressive size, including Staunton’s 11-year-old son who was nominally the ambassador’s page. On the embassy’s arrival in China it emerged that the 11-year-old was the only European member of the embassy able to speak Mandarin, and thus the only one able to converse with the Emperor. #e embassy, the $rst such to China, had two objectives: the $rst to register with the Emperor British displeasure at the treatment that the British merchants were receiving from the Chinese, the second to gain permission for a British minister to be resident in China. #e $rst objective was achieved, the second was not. Macartney was twice granted an audience with the Emperor and in December 1793 he was sumptuously entertained by the Chinese viceroy in Canton, and returned to England via Macao and St. Helena, arriving in September 1794.

Brunet V, 525; cf. Cordier Sinica 2381-2382; cf. Cox I, p.344; Hill (2004) 1628; Lowndes III, p.2502; Lust 545 & 547; cf. Catalogue of the Asiatic Library of Dr. G.E.Morrison (Tokyo: 1924) I, 696-697; cf. Sta!eu & Cowan 12.835.

(#27884) $ 27,500

%& [ZARATE, Augustin de].

!e Strange and Delectable History of the Discoverie and Conquest of the Provinces of Peru, in the South Sea. And of the Notable !ings Which Are Found !ere....

London: Richard Iones, 1581. Small quarto. 100 leaves. Woodcuts on !rst titlepage and in text. Trimmed close, a"ecting headlines, top outer corner of illustrated title with small loss, with two letters supplied in expert facsimile, leaf AA2 with outer margin in expert facsimile a"ecting outer edge of woodcut but not text. Full gilt morocco by Middleton, spine gilt extra, gilt inner dentelles.

First English edition of a primary account of Peru.

#e !rst English edition of one of the most important early histories of the Spanish conquest of Peru, !rst published in Spanish in 1555. Zarate was sent by the Spanish Crown to Peru to investigate its !nances, where he remained for several years as Treasurer-General, charged with looking into the region’s !nancial a"airs. He authored the present work from his notes upon his return to Spain.

“#is work, in four books, is, in fact, the foundation of all the subsequent histories of the events to which it refers, and the narrative is given with force and simplicity. #e characters of the di"erent heroes are clearly and strongly drawn, and there is a long, distinct chapter (9 of Book IV.) on the appearance, conduct, and dispositions of Pizarro and Almagro. #e accounts of the execution of Almagro, and of the assassination of Pizarro, are written with much spirit and picturesqueness; and the story of the misfortunes and !nal death of Atabaliba, the young Peruvian Inca, is very touching” (Church). #e text is illustrated with interesting cuts, including the famous hill of silver at Potosi (depicted on the illustrated title and again in the text), and one of llamas.

Church 126; European Americana 581/70; Sabin 106272; STC 26123; JCB (3)I:287.

(#23573) $ 22,500

NATURAL HISTORY

&' AIGUEBELLE, Charles d’.

Homographie par brevet d’invention ... Choix de vingt plantes indigènes et coloniales.

Paris: l’auteur, [1828]. Broadsheet (24 1/4 x 18 inches). Lithographed and nature-printed title with dedication to the Duchesse de Berry. 20 hand coloured lithographed and nature- printed plates, lithographed by Bernard et Delarue (2), Bernard (6), or d’Aiguebelle (12), all a!er d’Aiguebelle. Each plate with corresponding text leaf, text by L. Madale. (Discoloration to one plate, minor foxing). Contemporary red paper boards, rebacked and retipped to style with red morocco, original red morocco lettering piece on the upper cover.

A very rare large folio botanical work with hand coloured plates, produced through a unique combination of lithography and nature printing.

"e very beginning of the use of lithography for botanical illustration can be traced to 1811 with Von Schrank’s Flora Monacensis which included lithographs by Johann Nepomuk Mayerho#er. "e ability to draw directly onto the stone, coupled with the medium’s e#ectiveness in showing shi!s of tone, appealed to the artist and naturalist alike. Although nature printing had been in use since the end of the 15th century at the time of Leonardo Da Vinci, the process used was simply inking the specimen and pressing it onto the sheet, with each specimen yielding only a small number of good impressions before becoming saturated with ink and damaged. Nevertheless, until the advent of photography, for the scienti$c world, nature-printing allowed for a degree of accuracy unrivalled except by the most talented of botanical artists. “A collection of good nature prints was a tolerable substitute for an herbarium in a way that no other illustrations could be” (Cave and Wakeman, Typographia Naturalis, p. 1).

"e invention of lithography, and the limestone’s ability to retain its crayon marks even a!er numerous printings, evidently struck Frenchman Charles d’Aiguebelle as the perfect medium to re-invent nature printing. By “inking” the specimen with wax and applying it directly to the stone, the naturalist could more easily reproduce his specimens while maintaining the faithfulness of the original. Naming the process “Homographie”, D’Aiguebelle took his process a step father, by beautifully adding in lithography the fruit, stems and other details of the plants not nature printed, and adding hand colouring overall to enhance both the artistic and scienti$c merits of the work.

Evidently issued in parts, the title would appear to be repeated from the upper parts wrapper, and includes a dedication to the Duchesse de Berry and title within a lithographed and nature-printed wreath. "e twenty plates comprise: Le Raisin; La Pivoine; Le Volkameria; Le Framboisier; Le Figuier; La Rose du Roi; Le Tulipier du Bengale; Le Cassis; Le Murier; Le Datura; L’Ibisque Militaire; L’Annone Trilobee; Le Solanum; Le Geranium des Pres; Le Ne%ier; Le Salvia Sylvestris; Le Passi%ore; Le Noisetier; L’Heliotrope; and Le Fusain. Each plate is accompanied by a descriptive text leaf by L. Madale, who is described as “botaniste cultivateur.” "is is the only work Nissen lists for Charles D’Aiguebelle, who would go on to invent anastatic printing for which he was awarded a silver medal at the Paris Exposition of 1834. By the mid-19th century, nature printing would be accomplished by pressing the specimens under high pressure between steel and so! lead plates, the latter yielding the impression needed for transfer to a copperplate for printing. We know of no other published works which unite lithography and nature printing in the manner of the present work.

"e work is very rare, with no copies in the famed collections of De Belder or Plesch. Only one other copy has appeared on the market in the last quarter century.

Fischer, Zweihundert Jahre Naturselbstdruck 98; Nissen BBI 7; cf. Cave and Wakeman, Typographia Naturalis (Brewhouse Press, 1967).

(#31314) $ 37,500 %& ALLEN, John Fisk (1785-1865).

Victoria Regia; or the Great Water Lily of America. With a brief account of its discovery and introduction into cultivation: with illustrations by William Sharp, from specimens grown at Salem, Massachusetts, U.S.A.

Boston: printed and published for the author by Dutton & Wentworth, 1854. Broadsheet (27 x 21 inches). Letterpress title, 1p. dedication to Caleb Cope, 12pp. text (numbered [5]-16); 1p. index, plate list, note and errata. 6 chromolithographic plates by Sharp & Sons of Dorchester, Mass, 5 a!er William Sharp, 1 a!er Allen. Publisher’s cloth-backed lettered boards. Housed in a green morocco backed box. Provenance: Taylor Library, Derry N.H. (early booklabel).

A monument to American colour printing, a work which launched the age of chromolithography as an art in the United States. !is work is one of very few truly great American botanical works and is one of the most beautiful "ower books ever produced.

!e Victoria Regia; or the Great Water Lily of America, provides an appropriate showcase for this gigantic water lily, "rst discovered along the Amazon River and then taken to Britain for cultivation. #e so-called “vegetable wonder” was "rst described by Sir R.H.Schomburg in 1837. From the details he gave, the botanist John Lindley suggested that the lily was a new genera and put forward the name Victoria Regia in honour of Queen Victoria during the "rst year of her reign. “#e giant water-lily is a spectacular $ower; nineteenth century commentators describe with amazement the vast dimensions of its $oating leaves, which could exceed two meters in diameter, and its great white $ower, which opened in the evening and closed again at dawn in a truly lovely spectacle” (Oak Spring Flora). In 1853, Allen, a well-respected horticulturalist and author of a treatise on viticulture, cultivated a seed from the water-lily given him by Caleb Cope, president of the Pennsylvania Horticultural Society, and the man in whose garden the water-lily !rst "owered in America on 21 August 1851. Working at his home in Salem, Massachusetts, Allen tended the seed from January to July, when, on the evening of July 21st, the "ower !nally bloomed. Motivated by his success, Allen hoped to make the glory of the water-lily available to a wider audience, and engaged the services of William Sharp, a British-born artist and pioneer of chromolithography then working in Boston.

Sharp had been practicing with the new technique of chromolithography as early as 1841, the !rst person to do so in the United States. His early e#orts can be seen in Mattson’s !e American Vegetable Practice (1841), but, as McGrath states, those chromolithographs are merely “passable.” Fortunately, Sharp improved his technique, and his next major project, the plates for Hovey’s !e Fruits of America (1852), demonstrated to all who viewed them the colourful and dramatic potential of chromolithography. Still, the process was in its infancy, and it would take a work of tremendous ambition to satisfactorily popularise the technique.

Allen’s proposed book on the water-lily provided such a vehicle. $ough the !rst plate of the Victoria Regia is based on a sketch Allen composed himself, the remaining !ve plates, which show the gradual development of the "owers from bud to full bloom, are wholly attributable to Sharp. Superlative in concept, colour, and execution, they became the !rst benchmark of the art. “In the large water lily plates of Victoria Regia, Sharp printed colors with a delicacy of execution and technical brilliance never before achieved in the United States” (Reese, Stamped with a National Character).

Great Flower Books (1990) p.69; Hofer Bequest 72; Hunt Printmaking in the Service of Botany 56; Nissen BBI 16; Reese Stamped with a National Character 19; Sta"eu & Cowan TL2 85; Tomasi An Oak Spring Flora 106.

(#27729) $ 60,000 $% BAIRD, Spencer Fullerton (1823-1887); !omas Mayo BREWER (1814-1880); and Robert RIDGWAY (1850-1929).

A History of North American Birds ... Land Birds ... [With:] Memoirs of the Museum of Comparative Zoology at Harvard College. Vol. XII. !e Water Birds of North America.

Boston: Little Brown and Company, 1875-1884. 2 works in 5 volumes (Land Birds, 3 vols; Water Birds, 2 vols), 4to (10 1/2 x 8 inches). [Land Birds:] 64 hand-coloured lithographs and numerous illustrations. Extra-illustrated with 36 hand-coloured lithographs a"er Ridgway. [Water Birds:] 493 illustrations (including 332 #nely hand-coloured). Uncut. Publisher’s uniform green cloth, spine lettered in gilt, top edge gilt.

Rare deluxe, coloured and extra-illustrated editions of Baird, Brewer and Ridgway’s classics of American ornithology.

“!is work contains a description of the birds of North America north of Mexico, including Greenland and Alaska. !e focus of this work is an account of the life history of the species, to which is added information about the geographical distribution of the birds and a brief description of the eggs and the individual species. Baird and Ridgway supplied the descriptive parts of the work, while Dr. Brewer dealt with the habits of the birds” (Anker).

Little Brown & Co. advertisements con#rm that their Land Birds was issued with 64 plates (uncolored at $10 per volume, or coloured at $20 per volume). However, a letter from the librarian at the Academy of Natural Sciences in Philadelphia published in the October 1902 issue of the Auk reveals the existence of the present deluxe issue of the Land Birds, with additional hand-coloured plates a"er Ridgway: “While the existence of an edition of this work with these plates may be known to many ornithologists, yet there is no printed record of such, as far as the present writer is aware. No mention of these plates is made in Coues’s ‘Bibliography’ nor in the several reviews of the ‘Land Birds’ to which I have had access. Dr. C. W. Richmond informs me that Mr. Ridgway has never seen a copy of the work with these plates although he has some loose plates in his possession” (letter from William J. Fox published in !e Auk, October 1902). Neither Nissen, Anker, Zimmer nor Sitwell mention this deluxe issue. A contemporary advertisement (in an 1882 edition of !e Scientist’s International Directory), however, reveals that this deluxe extra-illustrated issue “beautifully colored by hand” was available for $75 in cloth (as here) or $95 in full morocco.

Little Brown & Co. advertisements con#rm that their Water Birds was published in both uncolored ($10 per volume) and colored ($30 per volume) issues, describing the latter: “In the hand colored edition of the Water Birds all the illustrations of heads are most exquisitely executed in water colors from patterns prepared by Mr. Ridgway.” !e in-text illustrations are indeed exceptionally well hand-coloured, with the eyes of the birds #nished with gum arabic. (See the advertisement in the 31 May 1884 issue of !e Literary World, advertising volume one as just completed and projecting volume two to be published in September). We have only once before encountered a colored issue (the Bradley Martin copy), and considering the cost and labor involved, must have been done in limited numbers. “One of the great works on North American ornithology and for many years a standard reference ... the !rst major work on North American birds to supersede Audubon’s Ornithological Biography of 1831-39 as a comprehensive general source” (Ellis Collection).

Nissen IVB 63 and 64; Anker 25; Sitwell, Fine Bird Books, page 75; Ellis Collection 137 and 140; Zimmer, p. 34-35.

(#29922) $ 12,000 &' BENTHAM, George (1800-1884); and Henry Fletcher HANCE (1827-1886).

Flora Hongkongensis: A Description of the Flowering Plants and Ferns of the Island of Hong Kong ... [Bound with:] Flora Hongkongensis ... A Compendious Supplement to Mr. Bentham’s Description of the Plants of the Island of Hong Kong ... Extracted from the Linnaen Society’s Journal.

London: Lovell Reeve, 1861; [London: Linnaen Society, 1872]. 2 volumes in one, 8vo (8 x 5 1/8 inches). [3]-20*, 51, [1], 482pp., plus folding map; [4], [95]-144pp. Contemporary half green morocco over green cloth covered boards, spine with raised bands in !ve compartments, tooled on either side of each band and lettered in the center three compartments, marbled endpaper and edges.

!e "rst comprehensive #ora on any part of China and Hong Kong, bound with the separately- issued supplement.

Bentham donated his impressive herbarium to the Royal Botanic Gardens in 1854, and shortly therea"er, with the sanction of the British Government, began preparing a series of #ora of the indigenous plants of British colonies and possessions, beginning with the present work.

“Bentham had made use of all the botanical materials then known from Hong Kong. In the determination of the plants he was aided by several distinguished botanists: Dr. J. Lindley, Sir W. J. Hooker, Dr. J. D. Hooker, Colonel Munro, Prof. . Oliver. Dr. Boott and others ... $is remarkable book exhibits on every page the vast botanical knowledge of the author and serves as a model for accurate characteristic and at the same time popular descriptions of plants” (Bretschneider). In his work, Bentham identi!es 1056 species of #owering plants, of which approximately 1000 were native.

His monumental work is very rare. We know of only the Plesch copy selling at auction in the last forty years.

Plesch sale 48; Pritzel 625; Bretschneider, History of European Botanical Discoveries in Asia, pp. 401-403.

(#29444) $ 3,750

&' BLUME, Karl Ludwig (1796-1862).

Rumphia, sive commentationes botanicae imprimis de plantis Indiae Orientalis.

Leiden: C. G. Sulpke [etc.], 1835-1836-1847-1848. 4 volumes, folio (17 1/4 x 10 3/4 inches). 3 lithographed portraits, 210 lithographed plates (159 hand-colored, several folding), including 12 views. Scattered minor foxing to the text. Early green half morocco and cloth, spine with raised bands in six compartments, lettered in the second and fourth, the others with a repeat decoration in gilt, marbled endpapers, gilt edges.

Very rare !ora of the East Indies, illustrated with hand colored plates.

A magni!cent work on the "ora of the East Indies, the work comprises plants previously undescribed in the "oras of Rheede tot Draakestein, Rumpf, Roxburgh, and Wallich, as well as Blume’s own Flora Javae. #e plates are a$er Blume, Arckenhausen, Berghaus, Bick, Decaisne, Gordon, Latour, Lauters and Payen, lithographed by A. Henrey and Cohen, P. Lauters and G. Severeyns.

Blume was a German-born Dutch botanist and explorer who travelled and worked extensively in Java, where he was the !rst director of the Buitenzorg Botanic Gardens. Later in life he served as the long-time director of the Rijksherbarium in Leiden. #e title refers to Dutch East India Company botanist George Eberhard Rumpf (1627-1702). Blume saw himself as continuing Rumpf’s pioneering work, and, indeed, was acknowledged as his spiritual disciple with the cognomen Rumphius.

Published in parts over a thirteen year period, the work is quite rare, with the only complete set in the auction records being the De Belder copy.

Great Flower Books, p.50; Nissen BBI 178; Sta!eu TL2 566

(#31762) $ 19,500

%& BOUSSUET, Francois (1520-1572).

De natura aquatilium carmen, in universam Gulielmi Rondeletii.

Lyon: M. Bonhomme, 1558. 2 parts in 1, small 4to (7 3/4 x 5 3/8 inches). Bonhome’s woodcut Perseus device on both titles, woodcut portrait of the author, 466 large woodcut illustrations of !sh and marine life. One folding leaf with illustration in the second part. Late 19th century brown morocco by De Samblanx and Weckesser, covers panelled with gilt rules, gilt "euron cornerpieces, spine with !ve raised bands, lettered in the second compartment, the others with gilt "eurons, gilt edges, marbled endpapers.

First and only edition of Bossuet’s pictorial history in verse of !shes and aquatic animals.

Based on Guillaume Rondelet’s authoritative work on !shes and marine life, each illustration is captioned by epigrammatic verses in Latin by Boussuet, a medical doctor, with much information about the taste and nature of !sh meat and shells. #e !rst part deals with !sh only, the second part largely deals with shells.

Although Baudrier attributes the woodblocks to Georges Reverdy, Mortimer states that the series of !shes, shells and various sea creatures had been cut for Rondelet’s Libri de piscibus marinis, printed by Bonhomme in Lyon in 1554-55 and in French in the same year as this publication. Among the extraordinary illustrations is a depiction of a “monk” sea monster, a drawing of which was supposedly given to Rondelet by Margurite d’Angoulme, Queen of Navarre.

Brunet I, 1184; Baudrier X, p. 257; Durling 660; Nissen ZBI 511; Mortimer/Harvard French Sixteenth Century Books I, 118; Petit 253.

(#31052) $ 4,250 #$ [BRAUN, Adolphe (1812-1877)].

Album of 25 albumen photographs of !ower arrangements.

[Paris: circa 1855]. Folio. 25 albumen photographs, most with rounded corners, each mounted onto white paper and mounted onto tan sheets within the album. Contemporary navy blue morocco, bound by C. Lewis, covers with wide elaborate borders in gilt, central !oral wreath stamped in gilt and blind and lettered in gilt, !at spine gilt, cream silk endpapers.

A stunning album of early !oral photographs attributed to Braun.

A noted French textile designer, Braun was an early adopter of the use of photography in his studio to aid in the design of !oral patterns. “It was his !ower images that brought Adolphe Braun into the top rank of photographers. "e subject could not have been more appropriate for him, as !owers were the most important theme in the printing factories’ design studios ... Adolphe Braun disliked the distorted, repetitive and conventional !oral compositions of the schools and design studios. His stated goal for his Fleurs photographiées was to allow designers to work from natural models” (O’Brien and Bergstein, p. 15). In 1854, Braun presented an album of 300 photographs to the Academie des Sciences in Paris and exhibited additional images at the the Exposition Universelle of 1855. “With the collodion process, Adolphe Braun was able to reproduce his !ower wreaths and arrangements with perfect subtlety and "ness ... #ese images compose one of the major works of art produced in this period, known as the ‘golden age of photography’” (O’Brien and Bergstein, p. 16)

Braun catalogues show that his large albumen prints were o$ered for sale at ten francs each. Although he produced hundreds of glass plates, he found the market for the larger, more expensive images was limited among textile artists and students of design and therefore produced far fewer of the larger sizes like the present images.

While a few scattered images appear in museums and private holdings, the principal repository of Braun photographs is held by the Musée de l’Impression sur Éto$es, Mulhouse. Braun !oral photographs of the size and quality as those in the present album are seldom seen on the market.

Maureen C. O’Brien and Mary Bergstein, Image and Enterprise: !e Photographs of Adolpe Braun (London: !ames and Hudson, 2000)

(#29743) $ 28,000

'( CATESBY, Mark (1683-1749).

!e Natural History of Carolina, Florida, and the Bahama Islands: containing the "gures of birds, beasts, "shes, serpents, insects, and plants; particularly, those not hitherto described, or incorrectly "gured by former authors, with their descriptions in English and French.

London: Printed for Charles Marsh, !omas Wilcox and Benjamin Stichall, 1754. 2 volumes, folio (20 3/4 x 14 3/8 inches). Titles in French and English and printed in red and black, parallel text printed in double columns in French and English. 1 double-page hand-coloured engraved map, 220 hand-coloured etched plates (218 by and a"er Catesby, most signed with his monogram, plates 61 and 96 in volume II by Georg Dionysius Ehret, one double-page). Contemporary mottled calf, expertly rebacked to style, spine with raised bands in eight compartments, red and black morocco lettering pieces in the second and third compartments, the others with a repeat decoration in gilt, period marbled endpapers, gilt edges. Provenance: Duke Georg Alexander of Mecklenburg-Strelitz (1859-1909, booklabel).

!e second edition of the “most famous colorplate book of American plant and animal life ... a fundamental and original work for the study of American species” (Hunt). A beautiful and vastly important work by the founder of American ornithology, this book embodies the most impressive record made during the colonial period of the natural history of an American colony and is the most signi"cant work of American natural history before Audubon.

Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his Natural History; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his copper plates himself to ensure accuracy and economy. !e end result is encyclopaedic: Catesby provides information not only on the botany and ornithology of the area, but also on its history, climate, geology and anthropology.

Catesby writes in the preface of his method of working: “As I was not bred a Painter, I hope some faults in Perspective, and other niceties, may be more readily excused: for I humbly conceive that Plants, and other !ings done in a Flat, if an exact manner, may serve the Purpose of Natural History, better in some Measure, than in a mere bold and Painter-like Way. In designing the Plants, I always did them while fresh and just gathered: and the Animals, particularly the Birds, I painted while alive (except a very few) and gave them their Gestures peculiar to every kind of Birds, and where it could be admitted, I have adapted the Birds to those Plants on which they fed, or have any relation to. Fish, which do not retain their colours when out of their Element, I painted at di#erent times, having a succession of them procured while the former lost their colours... Reptiles will live for many months...so that I had no di$culty in painting them while living” (Vol.I, p.vi).

!e %rst edition was published in ten parts, with the %nal part appearing in 1743, plus the twenty plate appendix, which was issued four years later. Work appears to have begun on the present second edition almost immediately, if not simultaneously with the publication of the Appendix in 1747. According to Sta&eu & Cowan, the second edition was published between 1748 and 1756. Recent discoveries have suggested that there are multiple issues of the second

edition, including early issues that may partly be comprised by sheets from the !rst edition. "e present set includes the !rst twenty text leaves in their corrected state. Unusually, the present set includes the Catesby’s famous image of the magnolia against a black background on a full untrimmed sheet, folded and inserted as a double-page plate; this plate is nearly always trimmed close or into the image and inserted as per the other plates, making the present set especially desirable.

"is set with esteemed provenance to Duke Georg Alexander of Mecklenburg-Strelitz, the eldest son of Duke Georg August of Mecklenburg-Strelitz and of Grand Duchess Catherine Mikhailovna of Russia, from the library at Mikhailovsky Palace in St. Petersburg.

References: Cf. Anker 94; cf. Dunthorne 72; cf. Fine Bird Books (1990) p.86; cf. Great Flower Books (1990) p.87; cf Hunt 486 (1st edition); cf. Jackson Bird Etchings p.76; cf. Meisel III, p.341; cf. Nissen BBI 336; cf. Nissen IVB 177; cf. Ripley Yale p.55; Sabin 11508; cf. Sta#eu & Cowan TL2 1057; Wood p.281 (‘A rare printing’)

Literature: E.G. Allen ‘"e History of American Ornithology before Audubon’ in Transactions of the American Philosophical Society, new series, vol.41, part 3 (Philadelphia: October 1951) Amy Meyers & Margaret Pritchard Empire’s Nature, Mark Catesby’s New World Vision (Williamsburg, 1998) Edwin Wolf 2nd, A Flock of Beautiful Birds (Philadelphia, 1977), pp.5-7 (Catesby “was the !rst to observe and depict North American birds in their natural settings, combining ornithological details with botanic ones”)

(#30528) $ 285,000 && DODOENS, Rembert (1517-1285); and Henry LYTE (1529-1607).

A New Herbal, or Historie of Plants: Wherein is contained the whole discourse and perfect description of all sorts of Herbes and Plants ... now !rst translated our of French into English by Henry Lyte, Esquire. Corrected and amended.

London: Edward Gri!n, 1619. Small folio, bound in sixes (10 5/8 x 7 inches). Title within an elaborate woocut border. [22], 564, [30]pp. Title remargined at top and bottom at an early date, repaired tear to C1. 19th century smooth tan calf, spine with raised bands, red morocco lettering pieces.

Second folio edition of Lyte’s English translation of Dodoen’s herbal.

Henry Lyte’s English translation of Dodoen’s herbal was "rst published in 1578; the present 1619 unillustrated edition was the fourth and "nal edition in English, but the second folio edition to be published. #e "rst Dutch edition of the work was published in 1554. “Lyte prepared A nieuwe herball with care. He compared ‘the latest Dutch copy’ of the Cruydtboeck with the French version, and in placed made corrections and additions. Moreover, it appears that a$er Lyte had "nished his work, Robert Dodoens sent fresh material, which the English translator incorporated in A niewe herball” (Henrey I: pp. 35-36).

Dodoen’s divided the plant kingdom in six groups, and focussed largely on medicinal herbs. “Although Dodoen’s neither lived in England nor had any of his works printed here, his Cruydtboeck became one of the standard works in this country thought Lyte’s translation” (Rohde).

STC 6987; Henrey 113; Rohde, p. 212; Johnston 167; Pritzel 2345; Sta"eu & Cowan TL2 1488

(#30406) $ 2,250 "# GOULD, John (1804-1881).

A Synopsis of the Birds of Australia and the Adjacent Islands.

London: published by the Author, 1837-1838. 4 parts in one (all published), imperial octavo (10 1/2 x 7 3/8 inches). 73 hand-coloured lithographic plates by and a!er Elizabeth Gould. 1p. contents list, 8pp. appendix “Description of New Species of Australian Birds”. Expertly bound to style in half green morocco and period green pebbled cloth boards, spine gilt, yellow endpapers, gilt edges.

Rare coloured issue of Gould’s !rst attempt to describe the birds of Australia. !is work is Gould’s "rst work in connection with Australian birds. !e excellent plates, the work of Elizabeth Gould, show that she not only possessed great natural talent, but that also developed much from her professional association with Edward Lear: the portrait of the sulphur-crested Cockatoo in part IV is a prime example.

Gould published this work, as he states in the prospectus, because he noticed that Australia had not been as well served by ornithological monographs as many other parts of the world. He therefore “conceives that a work on the Birds of [Australia and the adjacent islands] cannot fail to be of the greatest interest ... [and that] ... at this moment [he has ] .. in his possession an exceedingly rich collection ... among which are a large number of undescribed species; and having also relatives resident [in Australia] ... devoted to this branch of science.” Gould goes on to lay out his speci"c plan for the publication. “!e Work will be published in Parts, each of which will contain 18 Plates, with letter-press descriptions ... the price of each Part, 1l. 5s. coloured, 15s. uncoloured ... It is impossible to state the number of parts to which the work may extend; the species now known to the author ... may be comprised to form 6 to 8 parts”. Gould "nishes by noting that if the present work shows that there is su#cient interest, he may undertake a work on the same scale as his Birds of Europe, “in which case he contemplates visiting Australia, New Zealand, &c., for the space of two years, in order to investigate and study the natural history of those countries”. History shows that the present work ran to only four parts, but that Gould was induced to visit Australia, and he returned and published his two large format works on the birds and animals of Australia.

Ferguson 2271; Nissen IVB 382; Sauer 5; E. !ayer & V. Keyes Catalogue of ... books on Ornithology in the Library of John E. !ayer [Boston: 1913] p.79; Wood p. 364; Zimmer p.254.

(#31309) $ 18,500

&' HARRIS, Sir William Cornwallis (1807-1848).

Portraits of the Game and Wild Animals of Southern Africa, delineated in their native haunts, during a hunting expedition from the Cape Colony as far as the Tropic of Capricorn, in 1836 and 1837, with sketches of the !eld sports. By Captain W. Cornwallis Harris... drawn on stone by Frank Howard.

London: printed by Green & Martin and H.W.Martin, published for the Proprietor by W.Pickering, and to be had of P.& D.Colnaghi and T.Cadell, 1840[-1842]. Folio (21 1/8 x 14 1/4 inches). Lithographic additional title with hand-coloured vignette, 30 hand-coloured lithographic plates by Frank Howard a!er Harris, 30 uncoloured lithographic vignette illustrations. Minor foxing to the text . Contemporary red half morocco over cloth boards, bound by Hammond, spine in seven compartments with raised bands, black morocco- lettering-piece in the second, the others with an animal decoration in gilt, marbled endpapers, gilt edges.

A !ne copy of the large paper issue of “one of the most important and valuable of the large folio works on South African fauna” (Mendelssohn).

"e work was issued in #ve parts between 1840 and 1842, either on Colombier paper with tailpieces [i.e. large paper, as here] or on smaller Imperial paper without tailpieces. It was re- issued in 1844 by Richardson and again in 1849 by Bohn. "e present copy is in the work’s most desirable form, with both titles in their #rst states, dated 1840.

Captain Harris, an o$cer in the East India Company’s Bombay Engineers, was invalided to the Cape for two years, from 1835-1837. In 1836, a!er conferring with the naturalist Dr. Andrew Smith, he and Richard Williamson set out from Algoa Bay, by way of Somerset and the Orange River and travelled in a north-easterly direction until they reached the kraals of the famous Matabele chief Moselikatze. He proved friendly and allowed them to return via a previously closed route. "e #rst published account of the journey appeared in Bombay in 1838 (Narrative of an Expedition in Southern Africa), octavo, with a map and 4 plates); encouraged by the favourable reception, Harris went on to publish the present work which was based around his sketches of the game and wild animals he had encountered in his travels. In 1841 he was sent to open up trade relations with the ancient Christian kingdom of Shoa (Shwa, now the southern-most part of Ethiopia). His success was such that he received a knighthood in 1844, in the same year he published his account of this second journey. He returned to India in 1846 where he died in October 1848 (DNB) .

Abbey Travel I, 335; Mendelssohn I, p.688; Nissen ZBI 1843; Schwerdt I, p.231; Tooley 247.

(#31264) $ 17,500

%& LAFOSSE, Philippe Étienne (1738-1820).

Cours d’hippiatrique, ou traité complet de la médecine des chevaux.

Paris: Edme, 1772. Folio (19 3/4 x 13 1/8 inches). Engraved frontispiece by B.L. Prevost a!er Sullier, engraved portrait frontispiece by J. Baptiste Michel a!er Harguinier, engraved title vignette by and a!er Prevost, engraved arms of Charles-Eugene de Lorraine on dedication, 56 hand-coloured engraved plates by B. Michel Adam [femme Fessard], F.A. Aveline, C. Baquoy, Benard, Ch. Beulier, L. Bosse, Prevost and others a!er Harguinier, Lafosse, Saullier (19 folding), and 7 engraved headpieces by Delaunay, Hubert, Levilain, Lucas, Mlle Massard, Mesnil, Michel a!er Le Carpentier, type-ornament headpieces, woodcut head- and tailpieces and initials. Contemporary calf, covers bordered with gilt double "llet, expertly rebacked to style, spine gilt retaining the original red morocco lettering piece, period marbled endpapers.

Deluxe hand coloured !rst edition of the best 18th century French work on equine medicine and the anatomy of the horse.

Cours d’hippiatrique is distinguished not only by Lafosse’s anatomical skill and knowledge of equitation, gained through both study and practice of the subject, but also by the excellence of its execution: “Ce livre est un veritable monument eleve a l’Hippologie. Papier, impression, dessin, gravure, sont egalement signes” (Mennessier de la Lance).

#e vivid colouring of the anatomical plates elevates this hand coloured issue far beyond the regular black and white edition. “Ouvrage fort bien execute et qui a ete longtemps le meilleur que l’on eut sur cette science” (Brunet).

Brunet III, 765; Cohen-de Ricci col.587; Huth p.46; Mellon Books on Horses and Horsemanship 61; Mennessier de la Lance II, pp.20-21; Nissen ZBI 2360.

(#30530) $ 24,000

&' MAY, A[nn] E[liza]; and W[illiam] MAY.

Choice Flowers: A Collection of Drawings of Favourite Flowers, from the Garden and the Conservatory.

London: Ackermann and Co., 1849. Folio (14 1/4 x 10 inches). Hand coloured lithographed additional title, 31 hand coloured lithographed plates. Minor foxing to preliminaries, minor edge tears to a few plates. Publisher’s red morocco, covers elaborately blocked in blind, upper cover stamped in gilt, rebacked and re-tipped to style, gilt edges.

First and only edition of a rare !ower book with hand coloured lithographs a"er drawings by a noted nurseryman’s daughter.

William May, who ran the Hope Nurseries, at Bedale in Yorkshire, wrote the text to accompany the well-drawn plates by his daughter, Ann Eliza May, which depict both single !owers and mixed groups. “"e Delineations are made from some of the most popular and beautiful plants at present introduced; the Volume is o#ered with con$dence as to the care and $delity with which the series have been executed; and she !atters herself that it will be found not only useful as a work of reference to the Botanist and a source of amusement to lovers of Flowers in general, but also instructive to the younger branches of her friends, who may wish to cultivate their taste in the elegant and delightful recreation of Drawing” (Preface). "e list of subscribers includes only 72 names, subscribing to 75 copies,

Great Flower Books (1990), p.118.

(#31591) $ 3,850 $% MORDANT DE LAUNAY, Jean Claude Michel (d.1816) & Jean Louis Auguste LOISELEUR- DESLONGCHAMPS (1774-1849); - Panacre BESSA (1772-1830).

Herbier général de l’amateur, contenant la description, l’histoire, les propriétés et la culture des végétaux utiles et agréables.

Paris: Didot jeune (vol.I) or Fain (vols.II-VIII) for Audot, [1814-] 1816-1827. 8 volumes, small 4to (9 7/8 x 6 1/2 inches). Half-titles to vols. 2-8, 8pp. subscriber’s list in !nal vol. 575 !ne hand-coloured engraved plates (6 folding, plates unnumbered but numbered in the text 1-572, plus 171, 172 and 199 bis) a"er P. Bessa, P.J. Redouté by Barrois, Bigant and others. Modern red morocco backed marbled paper covered boards, #at spines gilt, marbled endpapers.

One of the !nest French "ower books with spectacular plates largely a#er Bessa, the most talented of Redouté’s pupils. Rarely found complete, this work was issued in 96 parts over a period of 13 years, with the !rst 11 parts of the !rst volume by Mordant de Launay, and the remainder by Loiseleur- Deslongchamps. "e original drawings for the !nely coloured and botanically accurate plates are mostly by Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté’s pupils and collaborated with him on several projects, such as Bonpland’s Description des plantes rares cultiveé à Malmaison.

"e work concentrates on the highly decorative #owering plants and more exotic species (including several early depictions of native Australian plants) although some fruit are included, as well. In the introduction in vol.I an historical and geographical survey is given of all the most important botanical works published in Europe, and the author argues that the plates in the present work (printed en gris and then hand-coloured) are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring. He then goes on to claim that, because the text of the present work includes notes on the history, uses and properties of the plants described, as well as notes on their cultivation, it is superior to both Curtis’ Botanical Magazine and Andrews’ Botanist’s Repository.

"e original drawings for the Herbier général de l’amateur were given by Charles X to the Duchesse de Berry, to whom Bessa had given painting lessons. She in turn le$ them to her sister, the Empress of Brazil. In 1947, the collection was dispersed at auction.

Great Flower Books (1990) p. 85; Nissen BBI, 2323; Sta!eu & Cowan TL2 4952

(#31995) $ 16,250 !" OATES, Eugene W.; and BLANFORD, W. T.

!e fauna of British India, including Ceylon and Burma ... Birds...

London, Calcutta, Bombay and Berlin: Taylor and Francis, 1889-98. 4 volumes, 8vo (8 3/4 x 5 1/4 inches). Interleaved with numerous manuscript notes, particularly on bird song with musical annotations on staves, plus approximately 15 specimens of feathers, and more than 470 original watercolor drawings of birds by Inglis. Contemporary half calf and cloth boards, spines with raised bands lettered in gilt, patterned endpapers, bound by S. Rahman & Co. of Tezpur, Assam. Provenance: Charles McFarlane Inglis (signature on titles and most watercolours signed with initials).

First edition of an important catalogue of the birds of India, profusely extra-illustrated with original drawings, notes and feather samples by or collected by a noted ornithologist working in India. !e present set with provenance to Scottish-born ornithologist Charles M. Inglis (1870- 1954), with numerous manuscript annotations (including musical notations on staves of bird calls), feather samples and original watercolours. !e son of an Indian planter, Inglis arrived in India at age 18 “to Assam to a tea plantation and was befriended there by the naturalist E. C. Stuart Baker. He moved to Bihar to grow indigo and while there built up a large collection of aviary birds” (Jackson). An amateur love of birds and insects blossomed into a career as the curator of the Darjeeling Museum from 1926 to 1948. He founded the journal of the Bengal Natural History Society and was a frequent contributor. His ability to sketch and illustrate birds led to !omas Bainbrigge Fletcher inviting him to produce a series of articles on birds of importance to agriculture in India. !ese were published in the Agricultural Journal of India and were later revised and published as Birds of an Indian Garden in 1924.

!e present four volumes comprise the complete ornithological numbers of the eight volume series on Indian natural history, which included volumes on "sh, reptiles, and mammals. “!e "rst two volumes on birds were written by Oates; the last two by Blanford who was also the author of the volume on mammals and the editor of the entire series. !e present volumes contain a thorough monograph of the birds of India, Ceylon and Burma, with descriptions of the various plumages, measurements, notes on distribution and habits, and detailed synonymies” (Zimmer).

Zimmer, pp. 471-472; Wood, p. 497

(#31614) $ 8,500 %& PARKINSON, John (1567-1650).

!eatrum Botanicum: the !eater of Plants. Or, an Herball of large extent: Containing therein a more ample and exact History and declaration of the Physicall Herbs and Plants that are in other Authours, encreased by the accesse of many hundreds of new, rare, and strange Plants from all parts of the world... with the chiefe notes of Dr. Lobel, Dr. Bonham, and others inserted therein.

London: !omas Cotes, 1640. !ick small folio, bound in sixes (13 1/2 x 9 inches). [18],1755,[1], [2]pp. plus engraved title page. Errata leaf in the rear. Early manuscript inscription on front endpaper, concerning a recipe to aid digestion. Contemporary panelled calf, tooled in blind; rebacked at an early date, retaining the original red morocco lettering piece.

First edition of the last great traditional English herbal.

John Parkinson (1567-1650) was an English apothecary and botanical writer of signi"cance. “While Parkinson’s reputation was established by the appearance of his Paradisus in 1629 ... the latter was overshadowed by the publication in 1640 of what was his much greater work, the !eatrum Botanicum ... !is digest attempted the description of nearly 4,000 plants, almost 1,000 more than were contained in Johnson’s edition of Gerard. !e descriptions in many instances are new, and great care was exercised to secure accuracy in indicating localities” (J.R. Green, quoted by Hunt).

“!e last of the English herbal writers belonging to the period of the botanical renaissance was John Parkinson, an apothecary of Ludgate Hill [London], who received the distinction of being appointed apothecary to James I, and to whom Charles I a#erwards gave the title of ‘Botanicus Regius Primarius’. Like [John] Gerard [1545-1612], Parkinson also owned a famous garden. It was in Long Acre, and both !omas Johnson and the Hampshire botanist, John Goodyer, gathered seeds from the garden in 1616... [Parkinson’s ] herbal... was referred to in the nineteenth century by the eminent botanist, Sir James Edward Smith [1759-1828], as follows: ‘!is work and the herbal of Gerarde were the two main pillars of botany in England till the time of [John] Ray [1628-1705], who indeed gave them fresh importance by his continual reference to their contents’” (Henrey I, p.79).

ESTC S121875; STC 19302; Anderson An Illustrated History of Herbals (1977) p.234; Cleveland Collections 197; Henrey I, 286; Hunt I, 235; Nissen BBI 1490; Pritzel 6934; Rohde !e Old English Herbals (1922) p.214.

(#32339) $ 7,500 &' PULTENEY, Richard (1730-1801).

Catalogues of the birds, shells, and some of the more rare plants, of Dorsetshire. From the new and enlarged edition of Mr. Hutchins’s history of that county.

London: Printed by, J. Nichols, for the use of the compiler and his friends, 1799. Folio (14 5/8 x 9 1/8 inches). Text in two columns. [2],92pp. Contemporary half calf and marbled paper covered boards, !at spine tooled and lettered in gilt, marbled endpapers (expert repairs at spine).

Very rare !rst edition of a rare catalogue of British birds, plants and shells.

Richard Pulteney received his doctorate in medicine from the University of Edinburgh in 1764, before serving as the personal physician to the Earl of Bath. Following the Earl’s death, he resided and practiced in Blandford, Dorset. Besides membership in a host of medical societies, Pulteney was elected a Fellow of the Royal Society, as well as a Fellow of the Linnean Society. Indeed, he was an early promoter of Linnaean taxonomy, and authored the "rst English biography of Linnaeus in 1781. His cabinet of specimens, noted particularly for its shells, was donated to the Linnean Society following his death in 1801.

#is work is divided into three sections, viz. birds (pp. 1-22), shells (pp. 22-54) and plants (pp. 55-92), each with a prefatory note, and all preceded by a cancel title. Nissen and BM(NH) erroneously cite a portrait in this edition. Privately-published by Pulteney, few copies were printed; bookseller John Bohn cites "$y copies printed in an 1843 catalogue. Furthermore, it is believed that many printed copies were destroyed in the 1808 "re at Nichols’ warehouse.

ESTC cites but 7 extant examples, with only one being in North America (Academy of Natural Sciences of Philadelphia).

ESTC T140194; BM(NH) IV:p. 1622; Pritzel 7367; Nissen, ZBI 3250.

(#29971) $ 6,800 %& SCUDDER, Samuel Hubbard (1837- 1911).

!e butter"ies of the eastern United States and Canada with special reference to New England.

Cambridge, Mass.: published by the Author, [November 1888 - October] 1889. 3 volumes, quarto (10 1/2 x 7 1/2 inches). Half-titles, 2pp. list of subscribers, 2 small format errata slips. 3 portrait frontispieces (1 chromolithographed, 1 printed in three colours, 1 uncoloured), 1 folding uncoloured map, 3 maps printed in three colours (2 folding), 89 maps and plates (21 chromolithographs [10 of butter!ies and moths, 4 of eggs, 4 of caterpillars and 3 of pupa,] 15 distribution maps printed in two colours, 53 uncoloured). Contemporary blue cloth. Provenance: William D. Richardson.

An important 19th-century colour plate book and American natural history work.

Samuel Scudder’s work, one of the most important books about butter!ies published in America in the 19th century, was an elaborate publication employing the latest production methods for the plates. "e work exempli#es the rapidly changing late 19th-century world of illustration technology, with the #nely executed chromolithographs by "omas Sinclair & Son and Julius Bien & Co. of Philadelphia being complemented by the more scienti#cally precise images in black and white. "ese were produced using gelatin-process photographs, photogravures, and electrotypes.

Most sets of Scudder’s work are found bound in three volumes, each with its own titlepage dated 1889 (as here). It is known however that the work was issued by Scudder in monthly parts over the course of a year, from November 1888 to October 1889. Particularly full information is given about the origins and production of each plate: it is interesting to note that the artists of the original drawings used in the compilation of the coloured plates of butter!ies and moths (all printed by Sinclair) included J.H. Blake, S.L. Smith, G.A. Poujade and Louis Trouvelot (best known now for his astronomical drawings).

Bennett p.96; BM(NH) IV, p.1888; McGrath pp.46 & 148; Reese Stamped with a National Character 106

(#30230) $ 2,000 '( SOWERBY, James de Carle (1787-1871); and Edward LEAR (1812-1888).

Tortoises, Terrapins and Turtles. Drawn from life.

London, Paris and Frankfort: Henry Sotheran, Joseph Baer & Co., 1872. Folio (14 3/4 x 10 3/4 inches). iv, I6pp. 60 black & white lithographed plates, a!er Sowerby on stone by Lear and printed by Hullmandel. Publisher’s maroon cloth, covers stamped in blind, "at spine lettered in gilt, yellow endpapers.

A rare work, containing some of the !nest known illustrations of tortoises and turtles, lithographed by Edward Lear

Sowerby and Lear #rst began working on the present plates in 1831, with forty plates published in the initial parts of Bell’s “Monograph Testudinata” (1831-1842). $at work was never #nished due to the publisher’s bankruptcy and the forty plates, together with twenty previously unpublished plates, were reissued in 1872 by Sowerby and Lear.

$e Introduction by John Edward Gray explains the complicated publication of this extraordinary work: “$is series of Plates was made under the superintendence of Mr. $omas Bell, to illustrated his Monograph of the Testudinata, a work in which the author intended to represent and describe not only all the known recent, but also fossil species. $e publication of this extensive work was unfortunately interrupted (by failure of the publisher [in 1836]) when only two-thirds of the plates that had been prepared (which in themselves formed but a limited portion of the intended work) were published ... $e unsold stock and unpublished plates were purchased at Mr. Highley’s sale by Mr. Sotheran, and the work has been in abeyance for many years. Mr. Bell has declined to furnish the text for the unpublished plates. In this di%culty Mr. Sotheran applied to me, and feeling that it was much to be regretted that such beautiful and accurate plates should be lost to science, and considering that such minutely accurate and detailed #gures would not require to be accompanied by a description, I agreed to add a few lines of text to each Plate ... Many of the specimens #gured and the rest of Mr. Bell’s Collection of Reptiles are now to be found in the Anatomical and Zoological Museum at Cambridge” (Introduction)

“Beginning in 1831 Lear worked with James de Carle Sowerby, a naturalist and painter, on Bell’s Monograph of the Testudinata, Lear drawing the lithographs at Hullmandel’s a!er designs by Sowerby. Bell wrote in the prospectus: ‘$e joint talent of these excellent artists ... renders it unnecessary to say that the ability of the painter will only be seconded by that of the lithographer....’ ... Although Lear lithographed all the plates, his hand is most evident in the more eccentric-looking tortoises, especially the Testudo radiata and the Chelondina longicollis. Tortoises are not the most vivacious creatures, but they are shown in a great diversity of attitudes, sometimes emerging hesitantly from their armoreal carapaces” (Hyman).

Nissen ZBI 1701; Hyman, p. 32; Wood 1872; Adler p. 35.

(#30506) $ 5,700

&& STECHER LITHOGRAPHIC COMPANY.

[A tree-peddler’s sample book containing a large collection of colour botanical specimen plates].

Rochester, N.Y]: Stecher Lithographic Company, [circa 1895]. 8vo. 122 pochoir and chromolithographic plates, nearly all by Stecher, including apples, pears, plums, cherries, peaches, berries, grapes, trees and !owers, the plates mounted in 31 rows of up to 4 (i.e. 30 rows of 4 plates, with the "nal row containing 2), each row joined by silk. Contemporary black morocco boards, opening concertina style. In a cloth box. Provenance: Brown Brothers Company, Continental Nurseries (name in gilt on the upper cover).

A Stecher “tree-peddler’s” sample book, providing an unusually large display of the !ne color plates of fruit varieties.

German-born Frank A. Stecher (1849-1916) "rst set up in business in Rochester in 1871 with Charles F. Muntz and Anton Rahn. #ey specialized in chromolithographic fruit plates, the "rst to do so in Rochester. In 1874-5 Muntz le$ the "rm and J.D.A. Mensing became a partner. #ree years later Rahn le$. “Late in 1886, Stecher bought out Mensing and the "rm became Stecher Lithographic Company... Stecher... was a leader in the chromolithographic industry in Rochester.... An 1888 guide to the industries of Rochester noted that the "rm employed 100 people and had machinery valued at $125,000” (K.S. Kabelac `Nineteenth- Century Rochester Fruit and Flower Plates’ in "e University of Rochester Library Bulletin (1982), vol.XXXV, p. 103).

#e present album is unusual in the large number of plates: when unfolded the rows of four plates give a potential to view eight plates at a time. #e Stecher imprint is on nearly all the plates, which include both pochoir and chromolithographic examples. One of the plates is copyright dated 1892.

#e Brown Brothers Continental Nurseries began in 1894, when Charles J. Brown bought land in Rochester. #e company rapidly expanded and included locations in Chicago and Toronto.

Cf. Karl Sanford Kabelac `Nineteenth-Century Rochester Fruit and Flower Plates’ in "e University of Rochester Library Bulletin (1982) vol. XXXV, pp. 93-114; cf. Sandra Raphael An Oak Spring Pomona 65.

(#31827) $ 2,750

() WIGHT, Robert (1796-1872).

Illustrations of Indian Botany; or Figures Illustrative of each of the Natural Orders of Indian Plants.

Madras: Published by J. B. Pharoah for the Author, 1840-1850. 2 volumes, 4to (10 3/8 x 8 inches). 205 hand coloured, lithographed plates (Vol 1: 101 plates, numbered 1-95, without plates numbered 6 or 47, plus 8 bis plates [3, 5, 11, 28, 28*, 29, 46 and 56]; Vol 2, in two parts: 104 plates, numbered 96-181, without plates 112 or 161 [but 160 numbered 160/161], plus 20 bis plates [97, 101, 105, 128, 148, 151, 154, 155, 155*, 156, 157, 158, 159, 161, 164, 165, 166, 168, 173 and 176]). Expertly bound to style in half dark brown calf and period marbled paper covered boards, !at spine ruled and lettered in gilt.

!e "rst signi"cant botanical work with hand-coloured plates published in India.

Wight arrived in India in 1819 to serve as assistant-surgeon with an infantry regiment stationed in Madras. His primary interest, however, was in botany and he was soon therea"er put in charge of the Madras Botanic Garden. In the 1820s, he travelled extensively across southern India, sending hundreds of specimens to Sir William Hooker. Wight began to employ local artists to record the !ora and sylva of the area. His work was championed by Hooker who in 1830 published a few parts of an early version of the present work in his Botanical Miscellany.

Encouraged, Wight took the extraordinary step of publishing his work in India, writing in the Preface: “It is ... to be borne in mind that this being the #rst volume of the kind that ever issued from the Madras press; an establishment had to be formed expressly for itself: that colours of the best qualities are not to be had at any cost, and lastly, that until the arrival of a fresh supply of paper for to [sic] the publication of the 11th number, our material was much deteriorated by age and even so far damaged as to render the use of superior colours almost nugatory.” $e project was di%cult, both in terms of sourcing paper, ink, artisans (his colorists went on strike at one point) and subscriptions to keep the work a!oat. Indeed, on a slip headed Notice inserted at p. 47 of some copies, the author writes: “I avail myself of this opportunity of reminding Subscribers, that the heavy charge of continuing this publication is borne by myself alone, and is now pressing so heavily on my limited #nances, that unless promptly aided by remittances, I will be subjected to considerable pecuniary embarrassment, and experience much di%culty in carrying it on.” A"er two years of work, the #rst volume was completed in 1840; the second volume was not completed until 1850. In all the work was issued in thirteen separate parts. Collations of extant sets vary tremendously given the haphazard numbering, with di&erent bis plates found in di&erent sets.

$e work is quite rare, as expected given its limited publication and di%culties along the way. While a handful of copies of the #rst volume appear in the auction records, no copies of both volumes has appeared in the auction records in the last thirty-#ve years.

Nissen 2141; Sta#eu & Cowan 17-579; Pritzel 40247; cf. Henry Noltie, “Robert Wight and the Illustration of Indian Botany” in !e Linnean Society of London, Special Issue No. 6 (2006).

(#31601) $ 12,000

&' WILSON, Alexander (1766-1813).

American Ornithology; or the Natural History of the Birds of the United States. Illustrated with plates engraved and coloured from original drawings taken from nature.

New York & Philadelphia: Collins & Co. and Harrison Hall, 1828-1829. 4 volumes. (text: 3 vols., octavo [9 1/4 x 5 1/2 inches]; plates: 1 vol. folio [14 1/4 x 11 inches]). Text: cxcix,[1],230,[1];456 [without a leaf number vii-viii, as usual];vi,396pp., 4pp. subscribers’ list at rear of vol.III. (Some light spotting). Atlas: 76 hand-coloured engraved plates, some heightened with gum arabic, by A. Lawson (52), J.G. Warnicke (21), G. Murray (2), and B. Tanner (1), all a!er Wilson. . Expertly bound to style in half red straight-grained morocco over period marbled paper-covered boards, the "at spines divided into compartments with gilt rules, lettered in gilt in the second and fourth compartments, the others with a repeat decoration in gilt.

!e second full edition of Wilson’s work, with plates in their most desirable form, and complete with the text. “Science would lose little if every scrap of pre-Wilsonian writing about United States birds could be annihilated” (Coues).

#e $rst edition of Wilson’s life-work was published in nine volumes between 1808 and 1814. #e present edition was prepared by Wilson’s friend and colleague, George Ord, who improved the work textually by re-arranging the work in a systematic order by species and by contributing an important “Sketch of the Author’s Life” (pp.vii-cxcix in the $rst text volume) as well as numerous additional textual notes. He also notes in his preface to the $rst text volume that he arranged for the plates to be “carefully examined and retouched” by Alexander Lawson (the original engraver of most of the plates). Reading between the lines of Ord’s preface, it is clear that he believed the plates in the present edition to be better than the $rst, and this is the current general view: it is noted in Fine Bird Books that “the plates [are] coloured better,” and Wood writes: “#e hand-colored drawings in the atlas are from the original copper plates, colored anew by pigments which seem to have been better quality than those used by Wilson.” In addition to the coloring, better quality paper was used in this edition, thus avoiding the foxing which almost inevitably mars the $rst. #us, this edition is more desirable than the $rst.

BM (NH), p.2332; Fine Bird Books (1990) p. 155; Nissen IVB 992; cf. Sabin 104598; Wood p.630.

(#28438) $ 25,000

COLOR PLATE AND ILLUSTRATED

%& ADAM, Robert (1728-1792).

Ruins of the Diocletian Palace at Spalatro in Dalmatia.

[London]: Printed for the author, 1764. Folio (20 7/8 x 14 3/8 inches). iv, [8], 33pp. Engraved additional title, 61 engraved plates on 53 sheets (8 double-page, 6 folding), engraved by Bartolozzi, Zucchi, Patton, Santini and others, mostly a!er original drawings by Charles-Louis Clérisseau. List of subscriber’s. Contemporary mottled calf, covers with gilt cornerpieces, spine with raised bands in eight compartments, lettered in the second, the others with a repeat decoration in gilt, marbled endpapers (expert restoration at corners and top and tail of spine).

First edition of Adam’s famous work on the ancient Roman architecture of Spalatro: a cornerstone of 18th-century neo-classicism.

Following a six-week visit to Spalatro, Adam published this book with its elaborately engraved views of the late Roman palace, intending it to emulate the success of Robert Wood’s "e Ruins of Palmyra published in 1763. In Florence, Adam had met the architect Charles-Louis Clerisseau (1721-1820), who served as Adam’s instructor for two years and who supervised much of the engraving for the book in Venice (51 plates) and London (11 plates). While Adam acted as leader of the expedition and contributed architectural observations (as well as gathering subscribers for publication), the preface was written by his cousin, the Scottish historian William Robertson. "e engravings were based on drawings by Clerisseau (six of which are preserved in the Hermitage Museum), and were said by the Critical Review in October 1764 to possess “a taste and execution that has never been equalled in this country.” Indeed, when Adam returned to Britain in 1758, “the custom’s o#cer at Harwich had so admired the drawings that he had charged no duty” (Millard, p.5). It has been said that the publication of this work launched the Adam style.

Millard II, 1; Berlin Kat. 1893; Brunet I, 46; Cicognara 3567; BAL/RIBA 27; Fowler 2; Harrison pp. 76-81.

(#28314) $ 23,000

&' ALLAN, Sir Alexander, Bt. (1764-1820). ...

Views in the Mysore Country.

[London: “published ... for Capt. Allen”, 1 June 1794]. Oblong folio (18 1/4 x 25 1/4 inches). Engraved title/dedication to Charles Marquis Cornwallis K.G., Governor General of Bengal, 12pp. descriptive letterpress text at end. 20 uncoloured aquatint plates by J. Wells a!er Allan, mounted on guards throughout, edges uncut. Expertly bound to style in half eighteenth-century russia over contemporary marbled paper-covered boards, the "at spine in eight compartments divided by gilt #llets and roll tools, red morocco label in the second compartment, the other compartments with repeat decoration in gilt.

A complete copy of one of the rarest of all India view books.

Allan served in the Madras Infantry from 1780 and took part in the third Mysore war. $e present work resulted from images drawn by Allan at the conclusion of the campaign. As a military topographer, his overriding goal would have been to accurately portray what he saw: in the present beautiful and rare series he presents to a British public who were fascinated by the dealings surrounding Tipu Sultan. Allan went on to actively serve in the fourth Mysore War, as Deputy Quartermaster General. He spoke Persian "uently and was therefore appointed to carry the "ag of truce into the Palace a!er the fall of Seringapatam and negotiate with Tipu. Subsequently, Allan was with Baird when Tipu’s body was found. Allan resigned from the Army in 1804, and from 1814 was a Director of the East India Company.

$e rarity of this work can be judged from the fact that only one other complete copy is listed as having sold at auction in the past thirty #ve years. $e only other records are for two partial copies: one with plates but no text, and a second with only 12 plates.

Abbey Travel II, 418; Archer p.73; H. de Almeida & G.H. Gilpin Indian Renaissance pp.176-178; Prideaux p.326; P. Rohtagi and G. Parlett Indian Life and Landscape by Western Artists p.79.

(#25199) $ 24,000

$% AMMAN, Jost (1539-1591).

Künstliche und wolgerissene Figuren der fürnembsten Euangelien .

Franckfurt am Main: [per Ioannem Feyerabendt, impensis Sigismundi Feyrabendii], 1587. 44 unnumbered leaves. Title page printed in red and black, woodcut printer’s device on title. Full-page woodcut on verso of A4, 78 woodcut illustrations within the text. Early nineteenth century calf, covers ruled in gilt and blocked in blind, spine with raised bands in six compartments, red morocco lettering piece, marbled endpapers. Provenance: H. P. Kraus (booklabel, Sotheby’s New York, Dec 4, 2003, lot 19, $3,900).

A beautiful series of !ne woodcuts depicting scenes from the New Testament, with varying ornamental borders, by the German master Jost Amman.

Verses in Latin above the cuts and in German below them, refer to the appropriate Bible passages. !ese are possibly the work of Johann Bentius (1499-1577), a Protestant theologian and the author of Biblisches Handbuechlein. !is beautiful woodcut series, which " rst appeared in 1579, is here in brilliant impressions with wide margins. From the library of H.P. Kraus.

IA 104.822 (citing 3 copies); Becker p. 19

(#32615) $ 4,500 #$ BEWICK, !omas (1753-1828), illustrator.

Fables calculated for the amusement and instruction of youth; originally dedicated to a young prince, for whose improvement they were written. Taken from the French.

Taunton: printed and sold for the translator, by J. Poole, 1789. 8vo. x, 162pp. 40 woodcut illustrations by Bewick, woodcut tailpiece. Contemporary tree calf, covers with a gilt border, rebacked, period marbled endpapers, gilt edges. Provenance: E.J. and J.S. Slotkin (booklabel).

First edition: illustrated with woodcuts by Bewick

According to the unnamed Translator’s Advertisement, these fables were taken from a French work of 1659.

ESTC T79350; Gumuchian 2451

(#32634) $ 950 %& CHINA, Canton School.

[Album of exceptional watercolours of members of the Chinese court, various occupations, landscape views, Chinese junks and botanical and ornithological subjects].

[Canton: circa 1830]. Small 4to (9 3/4 x 7 7/8 inches). 61 watercolour and gouache drawings, on J. Whatman wove paper watermarked 1829, interleaved with blanks. !e "rst watercolour, within an elaborate border, featuring a seated woman holding a sheet of paper inscribed G. Jackson, 1836. Contemporary dark purple straight grained morocco, covers bordered in gilt and blind with a central device in gilt, spine wide #at bands in four compartments, tooled in gilt, Liverpool bookseller’s ticket on the front pastedown (Richard Taylor), glazed yellow endpapers, gilt edges. Provenance: G. Jackson (inscription dated 1836 on tablet on "rst image).

A lovely album of pre-Opium Wars Chinese export watercolors of the highest quality.

Beginning in the late 18th century, centered on the treaty port of Canton, there existed a thriving trade in watercolours executed by local Chinese artists and sold to the western merchants and travellers. !e best known result of this trade is William Mason’s Costume of China, "rst published in London in 1800, which is illustrated with 60 hand-coloured aquatints adapted from a series of original watercolours by Pu-Qua of Canton.

Importantly, the watercolours in the present album are of a uniformly higher quality than usually encountered, including vivid colouring and the use of gold. !e subjects include members of the court and occupations (15), junks and ships (7), landscapes (7) and natural history subjects including #owers, birds and insects (32). Collections of Chinese export watercolors were routinely executed on less expensive pith paper, whereas the present watercolours are on high quality wove paper. !e album represents a more prestigious style of export watercolor paintings speci"cally meant for wealthy Europeans. !ese are Chinese watercolors of the highest quality, designed and executed to the highest standards.

Chinese export watercolours occupy “a space which is neither wholly Chinese nor wholly European, but which can, by the nature of the compromises it makes, tell us a lot about how one culture saw the other in the age before photography” (Clunas, p. 11).

Crossman, !e China Trade (Princeton: 1972); Clunas, Chinese Export Watercolours (London: 1984).

(#31334) $ 30,000

&' CHIPPENDALE, !omas (1718-1779).

!e Gentleman and Cabinet-Maker’s Director: being a large collection of the most elegant and useful designs of household furniture, in the most fashionable taste ... !e !ird Edition.

London: Printed for the Author, 1762. Folio (14 3/4 x 9 3/4 inches). [2], 20pp. Engraved dedication, 200 engraved plates by Darly, Foster, Taylor, Cloues, Miller and others a"er designs by Chippendale. (Trimmed close at fore-edge with minor loss to captions and plate numbers of some landscape oriented plates). Contemporary reverse calf, covers elaborately paneled in blind, expertly rebacked to style retaining the original red morocco lettering piece.

!e third and best edition of Chippendale’s groundbreaking furniture pattern book, the "rst and most important published book of furniture designs in 18th century England.

!e Director was intended to function as a trade catalogue. !e third, and best, edition, containing an additional 39 plates not found in the previous editions of 1754 and 1755, and the last edition to be published in Chippendale’s lifetime. !e third edition began to appear in installments in 1759, and was completed in 1762.

Although !omas Chippendale’s famous pattern book, !e Gentleman and Cabinet-Maker’s Director, was #rst published in 1754 and reissued the following year, it was only with a greatly enlarged new edition in 1762 that it had a serious in$uence in America, particularly in Philadelphia. Several copies are known to have been available there during the 1760s and, not surprisingly, Chippendale’s richly carved style had a pervasive in$uence on local cabinetmaking” (Heilbrunn Timeline of Art History. New York: !e Metropolitan Museum of Art, 2000).

!e Director principally depicts four of Chippendale’s most famous styles: English, French rococo, Chinoiserie, and Gothic. “His special claim for artistic fame is as a brilliantly original, innovative, and in$uential designer who also made masterpieces of furniture. His designs were plagiarized from at least the early Victorian period by the publisher John Weale, and more or less free adaptations from !e Director have been a staple product of commercial furniture makers since the mid-nineteenth century.

Chippendale’s Director was extensively used by furniture makers, making copies with the plates in good condition exceptional.

Brunet I, 1844; ONeal 26. Berlin Catalogue 1227; Millard, British 15

(#29958) $ 12,000

'( [DALVIMART, Octavien; and !omas Charles WAGEMAN (1787-1863)].

!e Costume of Turkey. illustrated by a Series of Engravings ... [With:] !e Military Costume of Turkey.

London: William Miller, 1802 (Costume); T. McLean, 1818 (Military Costume) [plates watermarked 1817]. 2 volumes, folio (14 x 10 inches). [Costume:] Titles and text in French and English. English title with integral hand-coloured stipple-engraved vignette, 60 hand- coloured stipple-engraved plates by J. Dadley or William Poole a"er Octavien Dalvimart. [Military Costume:] Hand-coloured stipple-engraved portrait frontispiece of Antonaki Ramadani by !omas Charles Wageman, engraved additional title with integral hand- coloured aquatint vignette, 29 hand-coloured aquatint plates. Contemporary uniform straight grained tan morocco, covers elaborately panelled in gilt and blind, spines with wide semi-raised bands in #ve compartments, lettered in the second and fourth, the others with a repeat decoration in gilt and blind, marbled endpapers, gilt edges. Provenance: Richard Noel, Lord Berwick (armorial bookplates).

Lovely set of the costume and military costume of Turkey.

!e #rst work starts with the “Kislar Aga or #rst black unuch [sic.]” in the “Grand Signior’s Seraglio” the subjects covered are quite wide-ranging but centered on the inhabitants of Constantinople and those who were visiting the capital city: a “Sultana”, “O$cers of the Grand Signior”, “Turkish woman of Constantinople”, “Turkish woman in provincial dress”. Dalvimart does make occasional forays out into the provincial areas of the empire: included are images of an “Albanian”, an “Egyptian Arab”, a “Bedouin Arab”, a “Dervise [sic.] of Syria”, an “Armenian”, a “Bosniac” as well as a number of #ne plates of the female costume of the Greek Islands (which are much admired in the text). “!e Drawings, from which ... [the] plates have been engraved, were made on the spot ... [in about 1798] by Monsieur Dalvimart, and may be depended upon for their correctness. !ey have been accurately attended to in the progress of the engraving; and each impression has been carefully coloured according to the original drawing, that the #delity of them might not be impaired” (Preface). Abbey points out that the informative text is attributed to William Alexander in the British Library catalogue.

!e preface to the second work notes that “Persons from all parts of this immense empire, united in the pursuit of military distinction, present a strange association of #gures and di%erences of hue. !e Military Costume of Turkey, therefore, comprises a great variety of dresses, as well as men of countries distant from each other, and varying in their complexions from the scarcely tinged Georgian, to the sable Nubian. !e subjects which compose this selection have been furnished by the liberality of a gentleman, who had stored his portfolio during his residence at Constantinople”

!e frontispiece is a portrait by Wageman of the dedicatee, “His Excellency Antonaki Ramadani” the Ottoman Ambassador to the British Court “engraved from a likeness ... for which his Excellency had the kindness and condescension to sit in his robes” (preface); the remaining plates each concentrate on a single #gure in military garb, each with a facing leaf of explanatory text.

Abbey Travel II, 370 and 373; Atabey 313; Colas I, 782 and 2059; Lipperheide I, Lb37; Vinet 2337 and 2338.

(#32504) $ 6,000

&' DANIELL, Willam (1769-1837) and Richard AYTON (1786-1823).

A Voyage round Great Britain, undertaken in the summer of the year 1813, and commencing from the Land’s-End, Cornwall ... with a series of views, illustrative of the character and prominent features of the coast, drawn and engraved by William Daniell.

London: Printed for Longman, Hurst, Rees, Orme and Brown and William Daniell, 1814- 1825. Eight volumes in four, imperial quarto (14 1/4 x 10 1/4 inches). Uncoloured aquatint dedication leaf at the front of vol.I, 308 hand-coloured aquatints, all by and a!er William Daniell. Without the uncoloured stipple-engraving of “Kemaes Head, Pembrokshire” found in some copies. Some minor o"setting from the text onto the plates as usual, minor age toning to the plates. Expertly bound to style in red half morocco and period red cloth covered boards, spines in six compartments with raised bands, lettered in the second and third compartments, the others with repeat decoration in gilt, marbled endpapers, gilt edges.

“!e most important colour plate book on British topography” (Tooley).

“Such a succession of beautiful plates is scarcely to be found elsewhere, and they are unsurpassed both in delicacy of drawing and tinting. #e voyage, starting from the Land’s End and continuing by the north coast of Cornwall, was made partly by sea and partly by land, the original intention to travel principally by sea not being found practicable on account of the dangerous nature of the coast. #e Introduction states that ‘While the inland counties of England had been so hackneyed by travellers and quartos, the coast has hitherto been almost unaccountably neglected, and if we except a few fashionable watering-places, is entirely unknown to the public ... But many, who would not venture in pursuit of amusement out of the latitude of good inns and level roads, to make paths for themselves over rocks and crags, may still be pleased to become acquainted at a cheaper rate, with the character of their own shores, where most conspicuous for boldness and picturesque beauty. It is the design, therefore, of the following voyage, minutely to describe the whole coast of Great Britain; not merely ... its well-known towns, ports, and havens, but to illustrate the grandeur of its natural scenery, the manners and employment of its people and the modes of life in its wildest parts’ ... One would fain know who was the colourist of these beautiful plates ... #e plates, and they are numerous, in which sea-birds circle above the rugged cli"s, are especially $ne ... but it is impossible to make any individual selections from such a treasure-house of beauty” (Aquatint Engraving pp.279-280).

#e work was originally issued in parts costing 10s.6d. each, or £60 when completed.

Abbey Scenery 16; Prideaux p.326; Bobins II,636; Tooley 177

(#31600) $ 18,500

&& GAUGUIN, Paul (1848-1903).

Noa Noa: Voyage de Tahiti.

[Munich: R. Piper & Co., 1926]. 4to (12 1/4 x 9 1/4 inches). 204 pages. With mounted collotypye reproductions of Gauguin’s watercolors, drawings, photographs, and woodcuts. Publisher’s coarse ra!a, upper cover and spine lettered, publisher’s dust jacket.

Limited edition reproducing Gauguin’s original manuscript.

“In 1903, Daniel de Monfried ... recovered the original manuscript [of Gauguin’s Tahitian journal] together with further woodcuts, watercolours and photographs which Gauguin had added. "e complete manuscript was given to the Louvre, and was used for the facsimile published in Munich in 1926, a period when Gauguin’s reputation was secure and primitive works of art generally held in high esteem” (From Manet to Hockney).

Four hundred copies of the work were published: 80 in yellow morocco and 320 in ra#a, a type of course Tahitian straw. "e dust jacket, present with this copy, was printed from a woodcut made by Monfreid a$er a design by Gauguin.

“Noa Noa represents an important project in book-making by this major artist” ("e Artist and the Book).

!e Artist and the Book 115; From Manet to Hockney 15

(#26374) $ 3,250 #$ GRINDLAY, Captain Robert Melville (1786-1877).

Scenery, Costumes and Architecture, chie!y on the Western Side of India.

London: Smith Elder & Co., 1830 [plates watermarked 1848]. Large quarto (15 1/2 x 11 3/4 inches). Engraved title with hand-coloured engraved vignette, 36 hand-coloured aquatint plates by R.G.Reeve, T.Fielding, G.Hunt, C.Bentley and others a!er Grindlay, William Westall, Clarkson Stan"eld and others. Contemporary half green morocco and marbled paper covered boards, bound by J. Wright, spine gilt with raised bands, marbled endpapers, gilt edges (rebacked with the original spine laid down). Provenance: Christie’s London, 5 June 1996, lot 189 (selling for £9430).

A "ne copy of one of the “most attractive colour plate books on India” (Tooley): third issue on thick paper. Robert Grindlay, the son of a London merchant, sailed for India at the age of 17 in 1803. He served with the 7th Bombay Native Infantry from 1804 until 1820 and travelled widely throughout India with his regiment. His talent for recording the life and landscape of India is evident from the images in the present work and on his return to Britain he was persuaded to work on its publication.

!e publication was initially handled by Ackermann’s but later transferred to Smith, Elder & Co. !e work was originally issued in six parts, and then o"ered in various forms including two volumes (with two titles dated 1826-1830 and no pagination) and a single volume dated 1830 with no pagination. !e present volume is the third issue, circa 1848, with the plates on thick paper and noted for the brilliant quality of the hand colouring.

Abbey Travel II, 442; Brunet II, 1742; Colas 1333; Lipperheide Ld 21; Tooley 239.

(#31607) $ 12,500 $% HODGES, William (1744-1797).

Select Views in India, drawn on the spot, in the years 1780, 1781, 1782, and 1783, and executed in aqua tinta, by William Hodges.

London: printed for the author, and sold by J. Edwards, [1786-1787]. Imperial folio (23 1/8 x 18 1/2 inches). Title and text in English and French. 1 uncoloured engraved map, 48 aquatint plates by and a!er William Hodges, India paper proofs before letters, numbered in manuscript in the lower corners. Period calf, covers with a gilt Greek key scroll border, expertly rebacked to style, "at spine in eight compartments, original black morocco lettering piece in the second compartment, the others with a repeat decoration in gilt, marbled endpapers. Provenance: Ozias Humphry (1742-1810, presentation inscription signed by Hodges on the title dated November 8, 1788).

Author’s presentation copy and a very rare issue of Hodges’ pioneering work on the architectural and picturesque wonders of India, with the plates being proof impressions before letters printed on India paper.

Born in London the son of a blacksmith, William Hodges was employed as an errand-boy in Shipley’s drawing school, where in his spare time he learned to draw. #e landscape painter Richard Wilson (1714-1782) noticed him and took him on as his assistant and pupil, and by 1766 Hodges was exhibiting in his own right. In 1772, through the interest of Lord Palmerston (1739-1802) a member of the board of Admiralty, he was appointed as draughtsman to Captain James Cook’s second expedition to the South Seas. He returned in 1775 and was employed by the Admiralty in working up his drawings of the expedition and in supervising the engraving of the plates for Cook’s published account of the expedition. He exhibited a number of pictures inspired by the voyage at the Royal Academy in London in 1776 and 1777.

Life in London must have seemed quite restrained a!er his South Sea experiences, and a!er ending his contract with the Admiralty and following the death of his wife, he le! for India in 1778. “But the "rst year in India was disappointing. Hodges health was poor and the Second Mysore War ... was in progress ... he was con"ned to Madras and its immediate environs. On moving to Calcutta in February 1781, however, he was to travel far more widely through the generosity and patronage of the Governor-General Warren Hastings ... During 1781 Hodges made two tours up-country with him during which he saw the ruins of many Muslim palaces, tombs and mosques. #e next year he found a patron in Augustus Cleveland, a liberal administrator stationed at Bhagalpur in Bihar. Touring with him Hodges saw a very di$erent India - the forested tracts inhabited by an aboriginal people, the Paharias. During 1783 he made a long expedition up-country to join Major Brown who was heading a diplomatic embassy to the Mughal Emperor. Hodges was now able to see the great Mughal monuments at Agra and Sikandra. He returned through Central India to Calcutta via Lucknow and le! India in November 1783...” (India Observed).

On his return to London, he exhibited 25 oil paintings of India at the Royal Academy, along with a selection of his aquatints. “All of these works gave a completely new and direct vision of India translated into an eighteenth century painter’s composition. His views of the countryside with its great rivers and forests had little in common with the popular picture of India gained from old engravings in the travellers’ accounts. His architectural subjects depicted many little-known Muslim tombs and mosques, Hindu temples, forts and palaces in Upper India...”(India Observed).

Beyond the never-before-seen subject matter of the prints, Hodges proto-impressionistic style is worthy of particular note. “He conveyed the towering bulk of many Indian monuments by exaggerated proportions and foreshortened perspective. #e countryside is shown rough with stunted scrub and windswept trees; paint is vigorously applied ... Here was a new and fresh approach to the Indian scene, viewing it in the ‘picturesque’ taste and presenting novel material, especially architecture, to the British public in a new manner” (India Observed ).

#e appearance of this work caused a sensation, as nothing of the scenery of India on this scale had been seen before. #e useful text, though generally brief, gives a history of each site, together with an account of contemporary events in which the site had been involved.

#is work, the main fruit of Hodges six year stay in India, was published with the plates in three separate forms: uncoloured, uncoloured proofs or with the plates hand-coloured to resemble the original watercolours. We have never encountered another copy of the work comprised of proof impression of the plates before letters printed on India paper. #e existence of such sets, however, is con"rmed by Lowndes, who cites such a copy selling in the Fonthill Abbey sale (9 September 1823).

#is copy with remarkable provenance to fellow British artist Ozias Humphry, who like Hodges spent time in India. A noted miniaturist and portrait painter, Humphry trained with Hodges at Shipley’s drawing school. Humphry arrived in Calcutta in August 1785, and a!er a brief time in Lucknow, spent the remainder of his two years in India at Calcutta, returning to England in March 1787. Humphry was elected to the Royal Academy in 1791. Humphry’s papers and presumably his library passed to noted bibliophile William Upcott, his illegitimate son. Upcott’s library was sold at auction in 1846.

Abbey Travel II, 416; cf. Mildred Archer, India Observed pp.8-10; Bobins, Exotic and the Beautiful I, 255; Brunet III, 242; cf. H de Almeida & G.H. Gilpin Indian Renaissance pp.114-126; Lowndes II, p.1079; cf. P. Rohtagi & P. Godrej, India A Pageant of Prints pp.37-47; cf. P. Rohtagi & G. Parlett, Indian Life and Landscape pp. 142-149; Tooley 264; Lowndes, p. 939.

(#26253) $ 45,000 %& LAVATER, Johann Kaspar (1741-1801).

Essays on Physiognomy, designed to promote the knowledge and love of mankind.. illustrated by more than eight hundred engravings.. executed by, or under the inspection of, !omas Holloway. Translated from the French by Henry Hunter.

London: T.Bensley for John Murray, H.Hunter and T.Holloway, 1792 [watermarked 1804]. !ree volumes in "ve, large quarto (13 1/8 x 10 3/4 inches). 3 engraved title vignettes, 173 plates by William Blake (1), !omas Holloway and others, a#er Henry Fuseli and others, about 361 engraved text illustrations (one on India paper mounted) by Blake (3), !omas Holloway and others a#er Fuseli and others. Scattered foxing. Contemporary blue straight grained morocco, covers with a wide elaborate Greek key border, spines in six compartments with semi-raised double bands, lettered in the second, third, fourth and "#h compartements, the others tooled in gilt, brown endpapers, gilt edges. Provenance: Charles W. Burr (bookplate).

A very "ne set of this in#uential work with four images engraved by William Blake, and the whole work overseen by Henry Fuseli.

Lavater’s work was "rst published in German (“Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe”) between 1775 and 1778. Fuseli, a friend from Lavater’s youth, was one of the moving forces behind the present “sumptuous edition” (Lowndes) which was "rst published in 41 parts between January 1788 and March 1799.

!ere are four Blake engravings: a portrait of Democritus (a#er Rubens), and there are three signed illustrations in vol.I on pp.127, 206 and 225. First printed in 1792, the work continued in print, with some changes to the imprints, to 1817-1818. !e present set with paper watermarked 1804 and in a lovely contemporary binding.

Cf. Bentley Blake Books 481; cf. Lowndes II, p.1321.

(#32388) $ 4,500 #$ MORRIS, J. H.; and J. CRUNDEN.

!e carpenters companion, for Chinese railing and gates, containing thirty-three new designs ... being a work of universal use to carpenters, joiners, etc. and intended to furnish the nobility and gentry with variety of choice. A new edition.

London: I. Taylor, [circa 1788]. 8vo (9 x 5 1/2 inches). 16 engraved plates. 8pp. publisher’s ads in the rear. Publisher’s blue paper wrappers.

Rare illustrated work on Chinoiserie inspired railings and gates.

!e 16 plates are engraved by Morris (12) and Crunden (4). !is is a particularly early work for Crunden, who would later publish his own book titled Convenient and Ornamental Architecture; little is known of Morris, who is simply described on the title as a carpenter. !e work was originally published by Henry Webly in 1765, with the present edition published by I. Taylor who succeeded him. !e publisher’s ads in the rear include an announcement of the forthcoming publication of the Iron Workers Guide, thus supplying the circa 1788 date. A seldom-encountered pattern book.

Ward-Jackson p. 47; Park 9.

(#29266) $ 3,000 '( MORRIS, Robert (1701-1754).

Architecture Improved, in a Collection of Modern, Elegant and Useful Designs ... in the taste of Inigo Jones, Mr. Kent, &c.

London: Sold by Robert Sayer, 1755. 8vo (9 x 5 1/2 inches). Title printed in red and black. XIVpp. 50 engraved plates, engraved by Parr, Roberts and others a!er Morris. Woodcut headpiece. Contemporary mottled calf, spine with raised bands in six compartments, morocco lettering piece in the second compartment, spine a bit darkened. Provenance: Sir Edward O’Brien (armorial bookplate, inked stamp on title).

Rare 18th century architectural pattern book for designs of follies and mantelpieces.

In addition to his works of architectural theory in support of the English Palladian movement, Morris authored two important pattern books, Rural Architecture (1750) and the present work. First published in 1751 under the title !e Architectural Remembrancer, both editions are very rare (a third edition was published in 1757). "e work, containing a preface and 50 engraved plates, supplied designs consistent with his theories promoting classical proportions, symmetry and simplicity. Of particular note are the designs for mantelpieces and small symmetrical garden follies. Morris’ theories would prove in#uential in Colonial America, particularly on "omas Je$erson’s interest in polygonal architecture.

ESTC cites but %ve examples of this 1755 edition.

ESTC T150587; Berlin Catalogue 2284; Colvin, p. 558.

(#30090) $ 3,500 $% OVERTON, !omas Collins; and John CRUNDEN and others.

!e Temple Builder’s Most Useful Companion, being "#y entire new original designs for pleasure and recreation; consisting of plans, elevations and sections in the Greek, Roman and Gothic taste ... [Bound with:] !e Chimney-Piece-Maker’s Daily Assistant, or, a Treasury of New Designs for Chimney-Pieces ... from the original drawings of !omas Milton, John Crunden, and Placido Columbani...

London: Henry Webley, 1766. 2 volumes in one, 8vo (9 x 5 1/2 inches). 19, [1]pp, plus engraved frontispiece and 50 engraved plates; [2]pp., plus engraved frontispiece and 54 engraved plates (one folding). 4pp. publisher’s ads inserted following the title in the second work. Contemporary calf, spine with raised bands, red morocco lettering piece. Provenance: S. Walldin Jr. (early signature on title); later signatures on endpapers.

A rare pair of 18th century English architectural pattern books.

!e "rst work bound here is the second issue, with revised title, of the "rst edition. Overton’s designs for garden follies are derived from Palladian, Gibbsian, Batty Langley, Gothick and other antique elements. !e second work bound here is the "rst edition of a very rare pattern book commissioned by Webley for "re place designs, including the "rst published designs of Columbani and Milton. Many of the chimney-piece designs show portraits above them, two of which are of Inigo Jones (plates 24 and 26) and one possibly of Wren (plate 25).

[First work:] Park List 62; Berlin Catalogue 2292; Harris 609. [Second work:] Archer 362.1; Harris 158; RIBA 4014.

(#29735) $ 6,000 &' PARKER, !omas N.; and C. MIDDLETON.

An Essay on the Construction, Hanging, and Fastening of Gates ... Second Edition; Improved and enlarged ... [Bound with:] Designs for Gates and Rails suitable to Parks, Pleasure Grounds, Balconys &c. also some Designs for Trellis Work on 27 plates.

London: Printed by C. Whittingham ... for Lackington, Allen and Co., 1804; London: J. Taylor, [circa 1805]. 2 volumes in 1, 8vo (9 x 5 1/4 inches). [Parker:] [8], 116pp. 6 engraved folding plates. [Middleton:] Engraved title, 26 engraved plates (numbered 2-27). 8pp. publisher’s ads. Early calf backed marbled paper covered boards, vellum tips, "at spine divided into compartments by gilt rules, black morocco lettering piece in the second compartment.

Two scarce early 19th century English works on gates and railings for landscape design, bound together.

While the #rst work approaches the subject from a practical standpoint (with much information on the engineering of e$ective latches), the second work is intended more for landscape design and follies. Published without text other than the engraved title, the second work includes ornate examples of gates and fences in iron, wood and other materials. In the rear of the second work are advertisements for J. Taylor’s Architectural Library, including an announcement of the publication of the second edition of Humphry Repton’s Observations (published 1805).

Not in Berlin Kat.

(#28265) $ 2,850 !" PENNELL, Joseph (1857-1926).

Archive of original pen-and-ink drawings used as illustrations in his book Charing Cross to Saint Paul’s.

London: circa 1890. 18 pen-and-ink drawings, each mounted to card, twelve signed. Housed within a black morocco backed box.

Archive of lovely drawings of London by a noted artist and illustrator. Philadelphia-born Pennell was appointed the Centurys European correspondent in 1884 and lived in London until 1917. Pennell and his wife Elizabeth became in!uential members in the Aesthetic Movement, and became friends with many of its participants, including James McNeil Whistler. Pennell, a proli"c artist and writer, experimented with new graphic techniques and sought to draw critical attention to book illustration. #e present pen-and- ink drawings were done to be used as illustrations within Pennell and Justin McCarthy’s book Charing Cross to Saint Paul (New York: MacMillan, 1891).

#e illustrations comprise (titles taken from published edition, with sheet size measurements): 1) Charing Cross. 13 3/4 x 10 inches. Signed. 2) Morley’s Hotel. 10 x 13 1/4 inches. Signed. 3) St. Martin’s in the Fields. 14x10 inches. 4) Fish Shop at Charing Cross. 6 1/2 x 10 inches. Signed. 5) In the Strand. 14 x 7 5/8 inches. 6) Exeter Hall. 14 x 9 1/4 inches. Signed. 7) #e Gaiety. 9 3/8 x 8 7/8 inches. Signed. 8) Wellington Street. 14 x 10 inches. Signed. 9) #e Lyceum. 9 7/8 x 6 7/8 inches. 10) Somerset House. 10 x 11 5/8 inches. Signed. 11) St. Mary-Le-Strand from the East. 14 x 10 inches. 12) Entrance to the Courts. 12 7/8 x 10 inches. 13) #e Windows of Punch. 8 3/4 x 11 1/8 inches. Signed. 14) St. Bride’s Passage. 13 3/4 x 9 3/8 inches. 15) #e Railway Bridge, Ludgate Hill. 10 x 11 5/8 inches. Signed. 16) Ludgate Circus. 13 7/8 x 9 7/8 inches. Signed. 17) Wild’s Hotel. 13 5/8 x 9 inches. Signed. 18) West Door of St. Paul’s. 16 1/2 x 10 5/8 inches. Signed.

(#31626) $ 17,500 #$ POPE, Alexander, Jr. (1849-1924).

Celebrated Dogs of America.

[Boston: S.E. Cassino, 1879]. 10 parts in one [complete], oblong folio (14 x 19 inches). 20 mounted chromolithographed plates, each accompanied by a leaf of explanatory text. Publisher’s prospectus on green paper bound in. Without letterpress title as issued. Expertly bound to style in half dark brown morocco over original cloth covered boards, upper cover lettered in gilt. Housed in a dark brown morocco backed box. Provenance: Mrs. George W. Stevens (name in gilt on upper cover).

Very rare American work on dogs, with chromolithographed images a!er Alexander Pope, Jr. Only two copies listed as having sold at auction in the past thirty-"ve years - the last copy in 1987.

“!e style of the present work is entirely original ... !e pictures are painted from life by Alex. Pope, Jr., whose Upland Game Birds and Water Fowl of the United States, and wood carvings of Game Birds, have made him familiar to the sportsmen art lovers of this country ... !e Celebrated Dogs of America will be issued monthly, in parts composed of two plates, 16 1/2 by 20, and accompanying letter-press. !e series will be completed in ten parts, at $2 per part. !e plates will be exact reproductions of the water-color paintings, and will be superior to anything heretofore produced of this nature ... !e work will be sold only by subscription...” (prospectus).

Bennett p.90; McGrath, p. 212; H.M. Chapin #e Peter Chapin Collection of Books on Dogs (Williamsburg, Virginia: 1938) 1426.

(#29276) $ 15,000 &' QUIN, Edward (1794-1828).

An Historical Atlas; in a Series of Maps of the World as known at di!erent periods; constructed upon an uniform scale and colored according to the political changes of the period.

London: Printed for R. B. Seeley and W. Burnside, 1830. Folio (16 1/8 x 12 7/8 inches). Engraved title, 21 hand coloured engraved maps with aquatint by Sidney Hall (6 double- page). Contemporary half brown morocco and marbled paper covered boards, letterpress lettering piece printed in brown and black on the upper cover, !at spine ruled and lettered in gilt.

First edition of among the most unusual atlases of the 19th century.

Intended to cartographically depict political change from the time of creation to the year 1828, this rare atlas depicts the world from the perspective of the heavens, with parts unknown shaded with black clouds which recede through the course of history, revealing the enlightened world in the midst of the Industrial Revolution. "e Preface explains: “["e atlas] consists of a succession of maps exhibiting the state of the known world at more than twenty periods. Its peculiarity consists in exhibiting every thing in its real dimensions and just proportions, and in adhering to the scale in all successive delineations ... By rapidly passing the eye, therefore, over the engravings the student, always the same territory in the same part the map, sees by the changes of colour the empires which succeed each other. Like the watchman on some beacon-tower, he views the hills and peopled valleys around him, always the same in situation and in form, but every changing aspect of the hours and seasons ... In thus exhibiting the state of the world at di#erent periods, it became necessary, in order to preserve consistency and truth, to exhibit in the earlier stages of the review only very small portion of the earth’s surface ... "e only course le$ to us seemed to be, to bring the appearance of a cloud over the skirts of every map, exhibiting at each period only the known parts of the globe, and li$ing up or drawing o# this cloud as the limits of the known world gradually extended. Every successive map thus combines, at a single glance, the geography and the history of the age to which it refers; exhibiting by its extent the boundaries of the known world, and by its colours the respective empires into which that world was distributed.”

Divided into twenty-one periods beginning with “B.C. 2348 "e Deluge “ to “A.D. 1928 At the General Peace” the clouds fully disappear at the nineteenth period: “A.D. 1783 At the separation of the United States of America, from England.”

William Go!art, Historical Atlases: "e First "ree Hundred Years, 1570-1870, p. 343.

(#31394) $ 12,000

&& REMINGTON, Frederic, A.B.FROST and others (illustrators) - A.C.GOULD (editor). Sport or Fishing and Shooting.

Boston: Bradlee Whidden, 1889. Folio (21 1/2 x 15 1/4 inches). 15 chromolithographic plates a!er Remington, Frost, Cozzens and others. Expertly bound to style in full dark red straight grain morocco.

A !ne copy of this rare large-format work on sport in late 19th-century America, including Frederic Remington’s !rst two published prints in color, a rare A.B.Frost image of deer-hunting and images from Fred. S.Cozzens and other top illustrators of the day.

"e present work includes six angling plates (three of #y-$shing), four plates of game-bird hunting and $ve of hunting larger game. Each of the $!een subjects is $rst described in general terms on a single leaf of text, followed by a second leaf giving a $rst-hand account of catching or shooting the subject, followed by a chromolithograph illustrating the $rst- hand account. According to Gould’s preface, the plates are all from water-colours especially commissioned for the work which were subjected to the critical scrutiny of a group of anglers/ sportsmen, who judged them for technical accuracy.

"e plates (with titles taken from the preceding text leaf ) are as follows: 1.Killing the Salmon. Henry Sandham. 2.A Moose hunt. Henry Sandham. 3.Trout $shing. Henry Sandham. 4.Fly-$shing for Black Bass. S.F.Denton. 5.Hunting Antelope [i.e. Prong-horn] Frederic Remington. 6.Catching a Tarpon. Fred. S.Cozzens. 7.Mallard shooting. S.F.Denton. 8.Catching a Mascalonge. Frank H.Taylor. 9.A Wild Turkey hunt. R.J.Zogbaum. 10.Sailing for Blue$sh. Fred S.Cozzens. 11.Hunting the [Virginia] Deer. A.B.Frost. 12.A day with the [Prairie] Chickens. R.F.Zogbaum. 13.A hunt above the timber-line [Big-horn]. Edward Knobel. 14.[Canada] Goose shooting. Frederic Remington. 15.Stalking the Wapiti. Henry Sandham.

"e two plates by Frederic Remington, Hunting Antelope (Hassrick & Webster 434) and Goose Shooting (Hassrick & Webster 435) are also listed by Peggy and Harold Samuels (Remington "e Complete Prints New York, 1990 pp.152-3) with the comment that they are the $rst and second Remington prints to appear in color. "ey were preceded only by a series of four monochrome photogravures for John Muir’s Picturesque California (1888) and two other individual prints, both black and white. Arthur Burdett Frost is now perhaps best known for his sporting pictures and prints, but an aversion to deer-hunting meant that he rarely pictured shooting scenes that featured anything other than small game. His image, Hunting the Deer, is recorded, and illustrated, in Henry M.Reed’s "e A.B.Frost Book (Charleston, 1993, pp.101, 104-5) but the author was apparently unaware that it was issued as part of the present work, which is not included in the extensive appendix of books illustrated by Frost.

Bennett p.48; Tyler Prints of the West pp.127 & 174; not in Reese, Stamped with a National Character.

(#26141) $ 17,500

%& REPTON, Humphry (1752-1818).

Designs for the Pavillon [sic.] at Brighton. Humbly inscribed to His Royal Highness the Prince of Wales. By H. Repton ... with the assistance of his sons, John Adey Repton, F.S.A. and G.S. Repton, architects.

London: printed by Howlett & Brimmer for J. C. Stadler, sold by Boydell & Co., Longman, Hurst, Rees & Orme, [etc.], [1822] [text watermarked 1821-1822; plates 1822]. Folio (21 5/8 x 14 3/4 inches). Emblematic frontispiece hand-coloured, 1 hand-coloured plan, 7 aquatint plates (one tinted with a sepia wash, six hand-coloured [one with an overpage, one double- page with two overslips, one folding with two overslips, one single-page with two overslips, one single-page with one overslip]), 11 aquatint illustrations (seven uncoloured, one with a sepia wash, three hand-coloured [two of these with a single overslip]), all by J.C. Stadler a!er Repton. Uncut. Expertly bound to style in half red morocco over contemporary marbled paper covered boards, original paper letterpress label a"xed to the upper cover, spine in eight compartments with semi-raised bands, bands tooled in gilt, lettered in gilt in the second compartment, the others with a repeat decoration in gilt.

A !ne uncut copy of Repton’s fascinating proposal for a royal palace at Brighton.

Humphry Repton was the main successor to Lancelot “Capability” Brown as an improver of grounds for the English gentry in the late eighteenth and early nineteenth century. He was particularly noted for his Red Books. #ese were produced for each individual client and were made up from a manuscript description of his proposed improvements bound with Repton’s own watercolour drawings of the grounds, with his proposed alterations displayed on an overlay. His proposal for Brighton pavilion was no di$erent and the present work “was based directly on the original Red Book, which was sent to the publisher and engraver, J.C. Stadler, of 15 Villiers St., Strand. !e drawings, by Repton and his sons, were sumptuously reproduced in aquatint, mostly in color, complete with their overslips and slides. Stadler himself took on the "nancial responsibility” (Millard, British p. 245).

“Repton was "rst summoned to Brighton by the Prince of Wales in 1797. Payments were made to him over the next "ve years for works in the garden of the Prince’s still modest marine villa... !en, in October 1805, Repton was requested to attend on the Prince in Brighton... !e Prince and Repton met on 24 November. By 12 December Repton had returned to Brighton with a sheaf of drawings showing possible improvements... !e prince was intrigued and asked for a design for an entirely new house. Repton presented his scheme in February 1806 in the form of [a]... Red book, now in the Royal Library at Windsor... By then the prince’s initial enthusiasm had dulled; he was beset with "nancial di#culties and had laid aside all elaborate schemes for the enlargement of the pavilion” (Millard op.cit. pp.243-244). Repton’s designs were inspired directly by the wonderful Indian architecture so ably pictured in !omas and William Daniell’s Oriental Scenery (1795-1808).

First published in 1808, the present issue dates from 1822 and may mark an attempt to take advantage of the interest generated when architect John Nash completed his work on the Pavilion for King George IV. Between 1815 and 1822 Nash redesigned and greatly extended the Pavilion, and it is the work of Nash which can be seen today. !e pavilion as it was "nally completed still owed a huge debt to Indian architecture but was in a form which re- interpreted the Indian ideal in a fashion more suitable to both English tastes and climate.

Abbey Scenery 57 (1822 watermarks) and cf.55; Millard British 66 (2nd edition); cf. Tooley p.207; cf. Prideaux p.349.

(#25450) $ 13,000 %& RUSSIA. - William MILLER (publisher).

Costume of the Russian Empire, illustrated by a series of seventy-three engravings ... Costumes de l’Empire de Russie.

London: printed by S. Gosnell for W. Miller, 1803 [plates watermarked 1817]. Folio (14 3/8 x 10 1/4 inches). Letterpress title in English, letterpress title in French, parallel text in English and French. 73 hand-coloured stipple-engraved plates by J. Dadley. Contemporary green straight grain morocco, coveres elaborately bordered in gilt and blind, spine with semi-raised bands in !ve compartments, lettered in gilt in the second and fourth, the others with a repeat decoration in gilt, gilt edges.

A !ne copy this attractive and valuable record of the peoples of the Russian Empire as it stood at the end of the reign of Empress Catherine the Great.

“"e Russian empire is of an extent unknown to other modern nations, and hardly equalled by that of the Romans in the summit of their power. It embraces within its limits, nations the most various, with countries and climates the most opposite ... It touches the Frozen Ocean of the north; and borders the warm climate of Persia, Japan, and China, on the south ... "e authenticity of the present work is undoubted ... "e descriptions have been derived from the most authentic sources, more particularly from Professor Müller’s ‘Description ... - Voyage en Sibérie, par D’Auteroche - Description de Kamtshatka, par M. Kracheninnikow - Plescheëf’s Survey of the Russian Empire - Pallas’s Travels through the Southern Parts of Russia - Saür’s Account of Commodore Billings’s Expedition to the Northern Parts of Russia,’ ... as well as from information procured from several gentlemen, who have been resident for some time in di#erent parts of that empire” (Preface).

Abbey Travel I, 245; Bobins I, 179; Cat Russica C1187; Colas I, 702; Hardie p.151; Prideaux p.317.

(#31522) $ 2,500 !" SAVAGE, William (1770-1843).

Practical Hints on Decorative Printing, with illustrations engraved on wood and printed in colours at the type press.

London: published for the Proprietor by Messrs. Longman, Hurst, Rees, Orme and Brown [and others], [1818-] 1822 [-1823]. Folio (14 5/8 x 10 3/8 inches). Letterpress title printed in red and black within a typographic border, 3pp. list of subscribers, 1p. Address dated 25 March 1823. Additional title printed in gold and colours (on india paper mounted), dedication to Earl Spencer printed in colours (on india paper mounted), 52 plates (most printed in two or more colours, one heightened with gold, and including the 9 cancelled plates on 5 sheets), 3 illustrations, and 6 colour-printed head-pieces. Expertly bound to style in half red straight grain morocco over period plain cream paper covered boards, spine with raised bands in six compartments, lettered in the second compartment, the others with a repeat decoration in gilt. Provenance: Charles C. Bubb (bookplate). Very rare large-paper copy of Savage’s extraordinary tour-de-force: an in!uential and beautiful work on colour-printing.

!e whole edition was to have been limited to no more than 335 copies, but in the end only 227 copies were subscribed for and this can be stated with certainty as being the actual number produced as Savage deliberately destroyed the blocks in order to ensure that no more copies could be printed. !e edition was issued in two forms: 127 copies in quarto (the Abbey copy is 10 1/8 inches tall) at 5 guineas and 100 copies on large paper, as here, at 10 guineas. !e large paper issue of this work was limited to 100 copies and is rare.

!e underlying reason for the work is quite interesting: Savage wished to present his new oil-free printing ink in a form which allowed for its full potential to be demonstrated. !e result is a masterpiece . “Savage’s magnum opus, which was announced in 1815, appeared in parts between 1818 and 1823. It is both a highly idiosyncratic volume and a notable landmark in the history of color printing from wood, anticipating Baxter by about ten years” (Ray, "e Illustrator and the Book in England ). !e technical aspects of the work are truly extraordinary: one highlight amongst many is a colour print, which Burch notes is printed from twenty-nine separate blocks, and which therefore quali"es as “the most complicated print ever printed in colours from wood blocks.”

!is copy with appropriate provenance to the library of Arts and Cra#s Movement printer Charles C. Bubb, the founder of the Clerk’s Press.

Abbey Life 233; Bigmore & Wyman, II, pp. 297-301; Burch Colour Printing pp.116-121; Friedman 35-38; Lowndes III, p.2194; Printing and the Mind of Man 141; Ray "e Illustrator and the Book in England 99.

(#26171) $ 17,500 "# SOCIETY OF UPHOLSTERERS.

!e II.d Edition of Genteel Household Furniture in the Present Taste with an addition of several Articles never before Executed, by a Society of Upholsterers, Cabinet-Makers, &c. containing upwards of 350 Designs on 120 Copper Plates.

London: Printed for Robert Sayer, [circa 1765]. 8vo (9 3/8 x 5 3/4 inches). Engraved title, 120 engraved plates. Expertly bound to style in full period calf, spine with raised bands in six compartments, ruled in gilt on either side of each band, red morocco lettering piece. Provenance: early owner’s signature on title.

A very rare 18th century English pattern book.

!e title continues: “Consisting of China, Breakfast, Side-board, Dressing, Toilet, Card, Writing, Claw, Library, Slab and Night Tables, Chairs, Couches, Burjairs, French, Dressing and Corner Stools, Cabinets, Commodes, China Shelves and Cases, Trays, Chests, Stands for Candles, Tea Kettles, Pedestals, Stair-case, Lights, Bureaus, Beds, Ornamental Bed Posts, Corniches, Brackets, Fire-Screens, Desk & Book Cases, Clock Cases, Frames for Glasses, Sconce & Chimney-pieces, Terms, Girandoles, Lantorns, Chandeliers, Piers, Fretts, Fenders, Balconys, Signs * overdoors with variety of designs for Founders Brass-work, &c. & c.” Originally published in 1760 with 60 plates; the present second edition contains 120 plates.

Robert Manwaring may have contributed most of the designs for chairs; the !rst 28 plates were reprinted in 1766 in Robert Manwarings Chair-makers guide. Other designs have been attributed to "omas Johnson, Ince & Mayhew, "omas Chippendale, and perhaps Matthias Darley. It has been stated that the designs are for mostly plain and modest looking furniture; Christopher Gilbert has suggested that their publication may have been directed at practicing cra#smen rather than prospective clients.

NUC locates one copy in America; not in BLESTC.

White, pp. 47-48; Ward-Jackson, pp. 51-52

(#29736) $ 8,250

%& SONTAG, Susan (1933-2004, author). - Howard HODGKIN (b.1932, artist).

!e Way We Live Now.

London: Karsten Schubert, [colophon: 1991]. 6 coloured aquatints, with added tempera, by Howard Hodgkin (2 folding, 4 double-page). Original paper-covered boards, original blue paper chemise with orange tempera added by hand, protective tissue covering to binding, original publishers cardboard slip-case with printed title label on upper cover.

A "ne copy of a work featured in Riva Castleman’s survey of the best livre’d’artiste of the last century; John Updike included Sontag’s story in his Best American Short Stories of the Twentieth Century.

“"is is a special work of art, a unique collaboration between two great artists in response to the AIDS crisis” (Castleman p.198). Castleman’s description of Howard Hodgkin’s etched aquatints as “lushly colored” is satisfyingly accurate: the project was evidently close to the artist’s heart (he spent four years working on the images) and he clearly wanted to create a worthy visual accompaniment to this short story by Susan Sontag. !e addition of tempera by hand ensures that each plate is unique, but Hodgkin’s intention with the series was to illuminate both the emotional changes and, at a cellular level, the physical changes bought about by the disease. !e overall result “achieves an optimistic e"ect, which strongly repudiates the horror and fear.” (Castleman). Sonntag’s short story, perhaps the greatest ever written on the subject, o"ers an honest and deeply-felt account of an AIDS su"erer, and human strength in the face of inevitable loss.

!e edition was limited to just 243 copies, numbered and signed by both the author and the artist, this copy is number 116 of 200 copies. “All proceeds from the sale of ...[the] book ... [were] given to AIDS charities in the United Kingdom and the United States”. “!e book is designed by Gordon House ... !e pictures and end papers are original etchings by Howard Hodgkin. !e etchings are printed in intaglio ... and hand painted in Sennelier tempera by Jack Shirre" ... !e cover is hand painted in tempera ... the bookbinding is done by Dieter Schulke” (printed note at end).

Castleman, A Century of Artists Books p.198.

(#24209) $ 2,200 %& TRADE CATALOGUE, C. M. Moseman and Brother.

Mosemans’ Illustrated Guide for Purchasers of Horse Furnishing Goods. Novelties and Stable Appointments Imported and Domestic.

New York: [1892]. Folio (15 x 10 3/4 inches). 304pp. Chromolithographed title and 6 chromolithographed plates. Numerous illustrations throughout. Publisher’s burgundy cloth, upper cover lettered in gilt. Provenance: M. Hancher (inked stamp on most leaves).

A wonderfully illustrated trade catalogue of horse tack and related furnishings.

An incredible selection of harnesses, saddles, brushes, blankets, dressings, bridles, bits, gloves and just about any horse-related accoutrement you could think of. !e Moseman shop, depicted on the "rst page following the title, was located on Chambers Street between Church and West Broadway, in New York. Stated "#h edition within the preface, and includes dates to 1887 suggesting the circa 1890 publication date. !e inked stamp is evidently by an employee of the "rm, as the address on the stamp is the same as the Moseman business address.

(#31928) $ 1,250 #$ VAN LENNEP, Henry John (1815-1889).

!e Oriental Album: Twenty illustrations in oil colors of the people and scenery of Turkey, with an explanatory and descriptive text.

New York: Anson D.F. Randolph, 1862. Folio (18 x 13 3/4 inches). Tinted lithographic additional title by Charles Parsons, printed by Endicott & Co., 20 chromolithographic plates by Parsons a!er van Lennep, all printed by Endicott & Co. of New York. Modern half brown morocco and cloth boards, spine gilt.

A rare and important American color-plate book

One of the relatively few American costume books, and certainly the best such created in 19th-century America. "is is a notable and unusual instance of the taste for the Ottoman or “Turkish” which manifested itself in the furniture of the period but seldom in books. In terms of American color-plate books, this is one of the only large projects from the 1860s, when the Civil War seems to have curtailed production of such lavish enterprises. “"e one really big chromolithographic book of this decade ... the art is simple, but [Charles] Parson’s hand is obvious in the good lithography, and Endicott’s printing is well done for its time” (McGrath). “Endicott achieved a rich variety of color which demonstrated the increased technical ability of American printers in the medium” (Reese). Henry Van Lennep was born in Smyrna, the son of European merchants. Educated, on the advice of American missionaries, in the United States, he returned to Turkey as a missionary in 1840, and spent most of the next twenty years in various parts of the Ottoman Empire. Returning to the United States in 1861, he turned his superb original drawings of Middle Eastern life into the Oriental Album. !e plates include two scenes of Jewish life in the Ottoman Empire. Included are plates of “A Turkish E"endi”, “Armenian Lady (at home)”, “Turkish and Armenian Ladies (abroad)”, “Turkish Scribe”, “”Turkish Lady of Rank (at home)”, “Turkish Cavass (police o#cer)”, “Turkish Lady (unveiled)”, “Armenian Piper”, “Armenian Ladies (at home)”, “Armenian Marriage Procession”, “Armenian Bride”, “Albanian Guard”, “Armenian Peasant Woman”, “Bagdad Merchant (travelling)”, “Jewish Marriage”, “Jewish Merchant”, “Gypsy Fortune Telling”, “Bandit Chief”, “Circassian Warrior”, “Druse Girl.”

Bennett, p.108; Blackmer Catalogue 1715; Blackmer Sale 1500; DAB XIX, 200; McGrath, pp.38, 115, 162; Reese, Stamped with a National Character 97; Atabey 1274

(#31583) $ 9,500 MISCELLANY

!" BURTON, Robert (1577-1640).

!e Anatomy of Melancholy. What it is, with all the kinds causes, symptomes, prognostickes, & seuerall cures of it. In three partitions, with their severall sections, members & subsections. Philosophically, medicinally, historically, opened & cut up. By. Democritus Iunior. With a satyricall preface, conducing to the following discourse ... the "# [sic.] edition, corrected and augmented by the author.

Oxford: Printed for Henry Cripps, 1638. Quarto. [12], 78, [2], [1]-140, [4], 141-218, [4], 219- 723, [11] pp, with errors in pagination as issued. Engraved title (not included in pagination). Early repair at head of half title, title page trimmed close with minor loss to imprint. Early calf, covers ruled in blind, rebacked at a later date, black morocco lettering piece. Provenance: George Crohats (early signature); Charles Skene (signature dated 1790). Fi!h edition of Burton’s masterpiece.

“Burton had read much, and all that he had read, or nearly all, was re!ned and incorporated in the Anatomy. If it were objected that some of the matter was irrelevant, the reply would be that the anatomy of melancholy, like the study of jurisprudence, demands a knowledge of all things, human and divine. "e whole book is elaborately divided and subdivided into partitions, divisions, sections, members and sub-sections ... "e Anatomy, as its publishing history shows, was one of the most popular books of the seventeenth century. All the learning of the age as well as its humour -- and its pedantry -- are there ... it exercised a considerable in#uence on the thought of the time...” (PMM).

"e present !$h edition with an interesting printing history. As Osler notes, “this edition has the distinction - possibly unique for any book - of having been printed piecemeal in three cities.” According to Madan, pages 1-346 were actually printed at Edinburgh but that the Scottish edition was suppressed at the insistence of the Oxford printers, who then agreed to incorporate the pirated pages in the present edition; some 68 leaves, incorporating Burton’s latest changes, were actually reprinted in London. For an account of the printing history of this edition see further Oxford Bib. Soc. Proceedings & Papers I (1922-6), pp. 194-7.

ESTC S122250; Garrison-Morton 4908.1; Grolier, English, 18; Hunter & Macalpine, pp. 94-99; Jordan-Smith 5; STC 4163; Madan, Oxford books II # 881; PMM 120 ("rst edition).

(#32452) $ 4,500 $% CHARLES I.

Certain Prayers Fitted To severall Occasions. And Are to be used in His Majesties Armies. Published by His Highnesse Command ... [Bound with:] A Forme of Prayer used at Newport, In the Isle of Wight: ... Being the day of Fasting and Humiliation for the obtaining a Blessing upon the Personall Treatie Between the King and His Two Houses of Parliament.

London: 1648; London: for Richard Royston, 1648. 2 volumes in one, 8vo. [4], 27, [1]; [4], 11, [1]pp. !e second work with a void to the terminal leaf at the upper gutter with loss to a few words. 19th century green morocco bound by Maltby of Oxford, covers paneled in gilt, spine lettered in gilt, gilt edges. Provenance: A. M. Broadley (bookplate).

A rare original edition of the Cavalier Soldier’s Vade Mecum.

!e "rst work within this volume is a famous rarity, a book of prayer compiled for use by the Cavalier’s Army during the English Civil War and said to have been suppressed by Cromwell. In 1900, Edward Almack produced a facsimile of the work, claiming that only a single example was extant. “It is a small book of Prayer and Praise for the soldiers in the Cavalier Army. Probably it was soon found by the enemy and the issue of it quashed ... !e dignity and simplicity of the language of this little book are worthy of the best traditions of the Church of England” (Almack).

Wing C4091D; ESTC R208556; cf. Almack, !e Cavalier Soldier’s Vade Mecum (London: 1900).

(#31487) $ 4,500 &' GALILEO, Galilei (1564-1642); - !omas SALUSBURY (c.1625-c.1665).

Mathematical Collections and Translations: !e First Tome in Two Parts. !e "rst part; containing, I. Galileus Galileus His System of the World ...

London: William Leyboun, 1661. 2 parts in 1, tall quarto (13 x 8 1/4 inches). [14], 503, [1], [24]; [14], 118, [6]pp. 4 engraved plates. Lacks the half-title and without the errata leaf found in some copies. (A few expert repairs to tears at edges of preliminary leaves). Expertly bound to style in period calf, covers bordered with a gilt double "llet, spine with raised bands in six compartments, morocco lettering piece in the second compartment, the others with a repeat decoration in gilt.

First edition in English of Galileo’s Dialogo, his celebrated defence of the Copernican view of the solar system: a milestone in the history of science.

A#er years of being forbidden to teach the Copernican theory, in 1632 Galileo was given the opportunity to express these views by the new Pope, Urban VIII, his friend, admirer and patron for more than a decade. Urban granted Galileo permission to write a book about theories of the universe, “provided that the arguments for the Ptolemaic view were given an equal and impartial discussion” (DSB). Galileo’s formal use of the dialogue, casting the work as a hypothetical discussion, allowed him fully to explore the Copernican model within Urban’s parameters. !e work “is a masterly polemic for the new science. It displays all the great discoveries in the heavens which the ancients had ignored; it inveighs against the sterility, wilfulness, and ignorance of those who defend their systems; it revels in the simplicity of Copernican thought and, above all, it teaches that the movement of the earth makes sense in philosophy, that is, in physics ... !e Dialogo, more than any other work, made the heliocentric system a commonplace” (PMM). In casting the Pope as the simple-minded Aristotelian Simplicius, Galileo brought upon himself arrest, trial by the Inquisition and life imprisonment. !e sentence was commuted to permanent house arrest, but the printing of any of his works was forbidden.

In 1664, English historian !omas Salusbury published the present English collection of Galileo’s work, including a translation of the Dialogo titled Systeme of the World, and followed by the short but important Epistle to the Grand Dutchesse Mother concerning the Authority of Holy Scripture in Philosophical Controversies (known today as the Letter to Christina), which was only the second work of Galileo’s to be published in England. Apart from the two works by Galileo, Salusbury included other translations in volume I of his Collections, including Italian mathematician Benedetto Castelli’s works on $uids in motion.

In 1666, the Great Fire of London swept through the city, destroying many copies of this work and nearly all copies of the 1665 second volume containing the "rst book-length depiction of Galileo’s life. (!e title-page to part two of volume I mis-states that it is ‘the second tome’, an obvious cause of some bibliographical confusion). Salusbury died at roughly the same time, perhaps, as some believe, in the Great Fire.

Carli-Favaro 276; ESTC R19153; Wing S-517.

(#28873) $ 57,500

$$ REY DE PLANAZU, François Joseph.

Ouevres d’Agriculture.

Paris: De l’Imprimerie de Grangé, 1787 [part 1, 23-26]; Troyes: De l’Imprimerie de la Veuve Gobelet, 1786 (parts 2-11, 13-16, 18-19, [21-22]); Compiegne: De l’Imprimerie de Bertrand (parts 12, 17, 20). 26 parts in one, 4to (10 x 7 1/2 inches). 30 engraved plates, printed on blue paper and all (except allegorical plate in part 23) with period hand colouring. Parts 21 and 22 without text or imprint, as issued. Signed by the author and with his stencil monograph on most titles and plates. Contemporary French calf, bound by Derome with his ticket, spine with raised bands in six compartments, red morocco lettering piece in the second, the others with a repeat decoration in gilt, marbled endpapers.

Very rare complete set of an illustrated series of privately-printed essays on agricultural inventions, with beautiful hand coloured plates.

In 1786, scientist Rey de Planazu was invited to various estates in France to advise the landowners on new technological ideas designed to improve agricultural production. !e results of these were published in a series of privately-printed pamphlets (published by three di"erent printers in various towns) which provide details and illustrations of innovative farming inventions. Each part was dedicated to various members of the French nobility, with each bearing the relevant coat-of-arms.

!e author, Rey de Planazu, calls himself a member of the Société Physique et Economique of Zurich and is obviously the originator of the great variety of suggestions for the rationalization of agriculture and also the inventor of the machines and tools described and depicted on the plates. !e subjects of the beautifully hand coloured plates treated include improved ways of sowing, threshing, raising poultry, culturing bees, a new device for the arti#cial hatching of chicken eggs, for cutting turnips, straw, leaves; an early silo, etc.

!e sections comprise: 1. Traité sur les causes de l’état de langueur et d’engourdissement de l’agriculture en France. 2. Traité sur les moyens simples de composer un engrais des plus économiques et des plus avantageux. 1 plate. 3. Tableau de la division des terres en douze sols de façon qu’il n’y en ait jamais d’incultes, en repos ou jachères. 1 plate. 4. Traité sur la pomme de terre avec un moulin pour en extraire la farine. 1 plate. 5. Traité sur l’usage des di"érentes herses, avec la description d’une herse à cylindre propre aux terres argileuses. 1 plate. 6. Traité sur les di"érentes manières de semer, avec la description d’un semoir nouveau de son invention. 1 plate. 7. Traité sur les moyens de cultiver toutes sortes de fourrages de prairies. 5 plates. 8. Description d’une machine servant à découper les turneps et autres racines en terre pour servir d’engrais. 1 plate. 9. Description d’un levier simple et peu dispendieux à l’usage des habitans de la campagne qui ne peuvent se procurer les secours et la ressource du cric. 1 plate. 10. Traité sur les boeufs. 1 plate. 11. Description des di"érentes sondes à échappemens pour rechercher la nature et la qualité des terres à diverses profondeurs. 1 plate.

12. Machine à battre les grains. 1 plate. 13. Traité sur la culture des turneps et sur l’avantage de cette nourriture pour les bestiaux, avec la description d’une machine pour les hacher. 1 plate. 14. Description d’un charriot propre à transplanter de grands arbres. 1 plate. 15. Description et explication d’une machine pour conserver les fruits à pépins pendant l’hiver. 1 plate. 16. Machine hydraulique. 2 plates. 17. Description d’un moulin à manivelle pour hacher les pailles et les feuilles.1 plate. 18. Traité sur toutes espèces de volaille ou oiseaux de basse-cour. 1 plate. 19. Recueil contenant di!érents procédés d’économie rurale. 20. Machines pour découper les gazons. 1 plate. 21. Méthode facile de planter par le moien d’un double cordeau. 1 plate. Without text, as issued. 22. Machine pour égluier le seigle. 1 plate. Without text, as issued. 23. Spectacle de la nature considérée dans les produits de l’agriculture et de l’économie rurale. Engraved dedication, engraved allegorial plate. 24. Description d’une herse pour arracher le chaume. 1 plate. 25. Description de deux machines dont l’une sert à ouvrir des sillons pour semer à des distances égales, et l’autre recouvre les semences après qu’elles sont semées. 1 plate. 26. Traité sur les abeilles. 2 plates.

"e work is seldom found complete with all twenty-six parts and with all plates.

Not cited in the usual bibliographies.

(#31304) $ 15,000

&'' ROSS, Alexander (1590-1654).

!e Philosophicall Touch-stone: or observations upon Sir Kenelm Digbie’s Discourses of the nature of bodies, and of the reasonable soule.

London: Printed for James Young ... sold by Charles Green, 1645. Small quarto (7 1/2 x 5 1/2 inches). [16], 131, [1]pp. Contemporary manuscript annotations on verso of the Privilege leaf. Early twentieth century half red morocco and marbled paper covered boards, spine with raised bands in $ve compartments, lettered in gilt in the second, the others with a repeat decoration. Provenance: William Watts (signature and Latin inscription dated 1645, indicating the volume to have been a gi% of the author); Charles W. Burr (bookplate).

First edition of an early English discussion of atomism.

With the 1644 publication of Digby’s Two Treatises, Gassendian and Cartesian atomism was introduced into England. In the present work, Scottish chaplain and writer Alexander Ross refutes Digby’s view, restating Aristotelian arguments. "is copy evidently a presentation from the author to William Watts (1590-1649), chaplain to Prince Rupert and noted scholar and linguist.

Wing R1979

(#32378) $ 1,350

INDEX

ADAM, Robert 69 LA PÉROUSE, Jean François de Galaup 39 AIGUEBELLE, Charles d’ 47 LABILLARDIERE, Jacques Julien Houton de 40 ALLAN, Sir Alexander 70 LAFOSSE, Philippe Étienne 58 ALLEN, John Fisk 48 LAVATER, Johann Kaspar 80 AMERICAN ANTI-SLAVERY SOCIETY 1 LEAR, Edward 65 AMMAN, Jost 71 LEDYARD, John 34 LEWIS, Meriwether 18 BAIRD, Spencer Fullerton 49 LIBRARY COMPANY OF PHILADELPHIA 19 BARTRAM, John 4 LINCOLN, Abraham 20 BENJAMIN, Asher 5 BENTHAM, George 50 MASSACHUSETTS BAY, Colony of 23 BEWICK, !omas 72 MAY, Walter William 41 BINNS, John 9 MAY, Ann Eliza 59 BLUME, Karl Ludwig 51 MILLER, William 90 BORDONE, Benedetto 29 MORDANT DE LAUNAY, Jean Claude Michel 60 BOUSSUET, Francois 52 MORGAN, Henry 16 BRADFORD, William 30 MORRIS, J. H. 81 BRAUN, Adolphe 53 MORRIS, Robert 82 BRENTON, Jahleel 21 MORRISON, Robert 32 BROWN, William Henry 6 MOSEMAN AND BROTHER, C. M. 94 BURTON, Robert 96 OATES, Eugene W. 61 CATESBY, Mark 54 OGILBY, JOHN 24. 42 CHAMPLAIN, Samuel de 31 OVERTON, !omas Collins 83 CHARLES I 97 CHINA, Canton School 73 PARKER, !omas N. 84 CHIPPENDALE, !omas 74 PARKINSON, John 62 CLARK, William 18 PENNELL, Joseph 85 CLARKSON, !omas 26 POPE, Alexander, Jr. 86 COLBY, George N. 22 PORTLOCK, Nathaniel 43 COLUMBIAN MUSEUM 7 PULTENEY, Richard 63 CONTINENTAL CONGRESS 8 COOK, Captain James 33, 34 QUIN, Edward 87 CRUNDEN, J. 81 REID, John 25 DALVIMART, Octavien 75 REMINGTON, Frederic 88 DANIELL, Willam 76 REPTON, Humphry 89 DAVIS, John Francis 32 REY DE PLANAZU, François Joseph 99 DECLARATION OF INDEPENDENCE 9 RIDGWAY, Robert 49 DES BARRES, J. F. W. 10 ROSS, Alexander 100 DICKINSON, John 8 DODOENS, Rembert 55 SALUSBURY, !omas 98 DOUGLASS, William 11 SAVAGE, William 91 SCORESBY, Jr., William 44 EAST INDIA COMPANY 32 SCUDDER, Samuel Hubbard 64 EVELYN, John 35 SLAVERY, West Indies 26, 27 SOCIETY OF UPHOLSTERERS 92 FADEN, William 2 SOMERS, John 28 FITCH, !omas 13 SONTAG, Susan 93 FRANKLIN, Benjamin 12 SOWERBY, James de Carle 65 FRITH, Francis 36 STAMP ACT 3 STAUNTON, George Leonard 45 GALILEO, Galilei 98 STECHER LITHOGRAPHIC COMPANY 66 GARRISON, William Lloyd 1 GAUGUIN, Paul 77 VAN LENNEP, Henry John 95 GORDON, William 14 GOULD, A.C. 88 WAGEMAN, !omas Charles 75 GOULD, John 56 WIGHT, Robert 67 GRINDLAY, Robert Melville 78 WILSON, Alexander 68

HALL, Daniel Weston 37 ZARATE, Augustin de 46 HARRIS, William Cornwallis 57 HODGES, William 79 HODGKIN, Howard 93 HUNTER, Dard 15

JAMAICA 16 JOSEPHUS, Titus Flavius 17 JUDAICA, American 17

KRUSENSTERN, Adam Johann von 38