Donald Heald Rare Books

Donald Heald Rare Books
A Selection of
Rare Books
Donald Heald Rare Books
A Selection of
Rare Books
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
Fall 2015
Americana: Items 1 - 28
Travel and Cartography: Items 29 - 51
Natural History: Items 52 - 76
Color Plate & Illustrated: Items 77 - 91
Miscellany: Items 92 - 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. The 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 draft, Paypal or by Visa, Mastercard, American Express or Discover
cards.
AMERICANA
1
[AFRICAN AMERICANA] - Worthington G. SNETHEN.
The Black Code of the District of Columbia in Force September 1st, 1848.
New York: The A[merican] and F[oreign] Anti-Slavery Society, 1848. 8vo (8 5/8 x 5 1/4
inches). 61, [1, blank], [1], [1, blank] pp. Ad leaf in rear. Expertly bound to style in half black
morocco over period marbled paper covered boards.
Rare printing of the antebellum laws relating to African Americans in Washington, D.C.
The author, a Washington D.C. attorney and the former solicitor of the General Land Office,
notes on an advertisement leaf in the rear that he has “nearly completed the Black Code of
each of the States of the Union. That of Maryland will next make its appearance.” However,
no further publications beyond the present digest of the laws relating to African Americans
in Washington, D.C. were published. Scarce.
Sabin 57332; Work, p. 343.
(#29711) $ 4,750
2
[AFRICAN AMERICANA] - John Belton O’NEALL (1793-1863).
The Negro Law of South Carolina, collected and digested by ... .
Columbia, SC: John A. Bowman, 1848. 8vo (8 3/4 x 5 1/2 inches). 56pp. Errata on verso of
p. 49. 6pp. index in rear. Expertly bound to style in half black morocco over period marbled
paper covered boards.
The black code of South Carolina in the antebellum years.
Judge O’Neall was born in Newberry County, South Carolina and was admitted to the bar
in 1814. After serving in the South Carolina House of Representatives, he became a judge,
remaining on the bench for thirty-five years including a period as the chief justice of the
state’s highest court. He prepared the present digest of the state’s black code on behalf of
the State Agricultural Society of South Carolina for presentation to the members of the state
legislature. Organized in chapters by subject with legal citations in the margins, the work
includes a detailed index in the rear. Scarce.
Sabin 85445.
(#29368) $ 5,250
3
AMERICAN REVOLUTION.
Cambridge, June 14, 1775. The following is a Copy of an Infamous Thing handed about here
Yesterday, and now reprinted to satisfy the Curiosity of the Public. As it is replete with consummate
Impudence, the most abominable Lies, and stuffed with daring Expressions of Tyranny, as well
as Rebellion against the established, constitutional Authority of the AMERICAN STATES, no
one will hesitate in pronouncing it be the genuine Production of that perfidious, petty Tyrant,
Thomas Gage ... .
[Watertown: Benjamin Edes, 1775]. Letterpress broadside (14 x 6 1/2 inches). Seven-line
publisher’s note at the head of the broadside [title as above] surmounting a ruled line, fiveline caption title (“By his Excellency / The Hon. THOMAS GAGE, Esq; / Governor, and
Commander in Chief, in and over His Majesty’s Province of Massachusetts- / Bay, and Vice
Admiral of the same. / A PROCLAMATION.”), text in two columns (beginning “Whereas
the infatuated Multitudes...”). Signed in print by Gage. (Expert restoration repairing tears,
reinstatement of approximately eight words).
The very rare “patriot printing” of General Gage’s proclamation against the “Infatuated
Multitudes” of Massachusetts.
The Patriot printing of Gov. Thomas Gage’s notorious proclamation of martial law in
Massachusetts was originally issued on June 12, 1775 in Boston, and reprinted, with a sarcastic
preface, by the patriot printer Benjamin Edes two days later in Watertown, the headquarters
of the American resistance. Issued less than two months after Lexington and Concord, and
shortly before Bunker Hill, Gage castigates the Minutemen who fought the British troops
on April 19 “from behind walls and lurking holes,” but offers pardon to those who would
lay down their arms, except John Hancock and Samuel Adams. Although issued under
Gage’s name as commander-in-chief, the proclamation was written by Gen. John Burgoyne.
Its insulting language and arrogant tone did more harm than good, and the American side
immediately recognized the propaganda value of spreading the text, hence this printing.
Open war began in Massachusetts at Lexington and Concord on April 19, 1775. On May
5, the Provincial Congress of Massachusetts resolved that since the military governor,
General Thomas Gage, had “utterly disqualified himself to serve this colony as Governor...
he ought to be considered and guarded against as an unnatural and inveterate enemy to this
country.” Against this background of open opposition to British authority, Gage wrote to
Lord Dartmouth on June 12, “I see no prospect of any offers of Accomdation and have issued
a Proclamation for the Exercise of the Law martial.”
At the outset of his Proclamation Gage acknowledges that a state of open rebellion exists
in the colony that is ostensibly under his authority: “The Infringements which have been
committed upon the most sacred Rights of the Crown and People of Great-Britain, are
too many to enumerate on one Side, and are all too atrocious to be palliated on the other.
All unprejudiced People who have been Witnesses of the late Transactions, in this and the
neighbouring Provinces, will find upon a transient Review, Marks of Premeditation and
Conspiracy that would justify the fulness of Chastisement....The Authors of the present
unnatural Revolt never daring to trust their Cause or their Actions, to the Judgment of an
impartial Public...have uniformly placed their chief Confidence in the Suppression of Truth:
And while indefatigable and shameless Pains have been taken to obstruct every Appeal to the
real Interest of the People of America; the grossest Forgeries, Calumnies and Absurdities that
ever insulted human Understanding, have been imposed upon their Credulity....The Press,
that distinguished Appendage of public Liberty...has been invariably prostituted to the most
contrary Purposes....”
Gage proceeds to characterize the Minutemen of Lexington and Concord as cowardly
guerillas: “The Minds of Men having been thus gradually prepared for the worst Extremities,
a number of armed Persons, to the amount of many Thousands assembled on the 19th of
April last, and from behind Walls, and lurking Holes, attacked a Detachment of the King’s
Troops who not expecting so consummate an Act of Phrenzy, unprepared for Vengeance,
and willing to decline it, made use of their Arms only in their own Defence. Since that
Period the Rebels, deriving Confidence from Impunity, have added Insult to Outrage; have
repeatedly fired upon the King’s Ships and Subjects,...have possessed the Roads, and other
Communications by which the Town of Boston was supplied with Provisions; and...carry
Depredation and Distress wherever they turn their Steps. The Actions of the 19th of April
are of such Notoriety, as must baffle all Attempts to contradict them....”
Feigning magnanimity, and “to spare the Effusion of Blood,” the Governor offers a royal
pardon “to all Persons who shall forthwith lay down their Arms and return to the duties of
peaceable Subjects, excepting only from the Benefit of such Pardon, Samuel Adams, and John
Hancock, whose Offences are of too flagitious a Nature to admit of any other Consideration
than that of condign Punishment.” For his part, Samuel Adams wrote to his wife from
Philadelphia, on June 28, 1775, “Gage has made me respectable by naming me first among
those who are to receive no favor from him. I thoroughly despise him and his Proclamation.
It is the Subject of Ridicule here....” (Quoted in Smith [ed]., LETTERS OF DELEGATES TO
CONGRESS, 1:552). The net effect of the Gage proclamation seems to have been to stiffen
the resolve of the colonists against the Crown.
The first, official, printing of this broadside was executed in Boston in the shop of the Loyalist
printer, Margaret Draper, and her young assistant John Howe, under Draper’s imprint. There
was a general exodus of printers from Boston in the spring of 1775, and by the summer she
was the only one still publishing a newspaper. Draper had taken over the shop after her
husband’s death in 1774, and only operated it under her own imprint for a year. This Draper
printing is very rare, with only four copies known - at the Public Record Office in London,
at the Huntington Library, the Clements Library at the University of Michigan, and at the
University of Virginia (the copy listed at the American Antiquarian Society is an electrostatic
copy of the one held at the Public Record Office).
The rebellious Americans, as well, recognized the pivotal importance of the Gage proclamation,
and the propaganda value of its sometimes insulting and overheated language. The present
broadside is that printing, almost certainly done by Benjamin Edes at Watertown, where the
Massachusetts Provincial Congress sat. It has an explanatory note in a single column at the
top of the sheet, with the Gage text in two columns below. This printing clearly proclaims
the Revolutionary intent of the printer at the head of the sheet, with a mocking text dated
at Cambridge on June 14: “The following is a copy of an infamous Thing handed about here
Yesterday, and now Reprinted to satisfy the Curiosity of the Public. As it is replete with
Impudence, the most abominable Lies, and stuffed with daring Expressions of Tyranny, as
well as Rebellion against the established, constitutional authority of the AMERICAN STATES,
no one will hesitate in pronouncing it to be the genuine Production of that perfidious, petty
Tyrant, Thomas Gage.” This is followed by the text of the original broadside printed by
Draper. Four copies are known, at Boston Public Library, the Rosenbach Library, the New
York Public Library, and in a private collection.
Another version of the proclamation was issued by the New York Loyalist printer, Hugh Gaine
later in the summer of 1775. Copies of that printing are located at the Library of Congress,
New York Historical Society, and New York Public Library. Next is the printing identified
by Ford as “in newspaper type,” located in four copies, at the American Antiquarian Society,
Massachusetts Historical Society, Boston Public Library, and the Rosenbach Library. Finally,
another printing survives in a unique copy that cannot conclusively be attributed to any place
or printer, but which is probably a provincial New England printing.
This Patriot printing of Gage’s Proclamation combines the importance of the original
text, which moved the outbreak of the armed Revolution to an irrevocable point, with the
firm statement of authority contained in its preface, asserting the constitutional authority
of the American States to govern their own affairs over a year before the Declaration of
Independence.
Evans 14185; ESTC W017448; Ford, Massachusetts Broadsides 1815.
(#28836) $ 75,000
4
BENJAMIN, Asher (1773-1845).
The 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.
The first original American book of architecture: second edition, after the exceedingly rare
Greenfield first 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., reflecting the influences of the Doric, Ionic, and
Corinthian orders. “[T]here is scarcely a village which in moulding profiles, cornice details,
church spire, or farm-house does not reflect his influence” (DAB).
“The career of our first 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 influence 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)” (Thompson).
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. The first obtainable edition of the earliest
architectural book written by an American and printed in the United States.
Rink 2484; Evans 33399; Hitchcock 112; Neville Thompson, “Tools of Persuasion: The American Architectural
Book of the Nineteenth Century” in The American Illustrated Book in the Nineteenth Century (1987), p.142.
(#29650) $ 9,500
5
BLACKSTONE, William (1723-1780).
Commentaries on the Laws of England. In Four Books ... Re-printed from the British Copy, Page
for Page from the Last Edition ... [With:] An Interesting Appendix to Sir William Blackstone’s
Commentaries on the Laws of England ...
Philadelphia: Robert Bell, 1771 [Vols 1-2] - 1772 [Vols. 3-4]; 1772[-1773] [Appendix]. 5
volumes, 8vo (8 3/4 x 5 1/2 inches). [Commentaries:] [8], ii, [6], 485, [1]; [8], 520. xix, [1];
[8], 455, [1], xxvii, [1]; [22], [8], 436, vii, [1], [39], [1]pp. 2 engraved plates (one folding).
[Appendix:] [4], iv, 5-119, [1]; xii, 155, [1]pp. Publisher’s ads in front of vol. 1 preceding title,
list of subscribers in front of vol. 4, appendices in rear of vols 2-4, Index in vol. 4. With a
separately-issued advertisement leaf tipped into vol. 4 being a prospectus for an American
edition of Ferguson’s Essay on the History of Civil Society and call for subscriptions to a
quarto edition of Blackstone’s Commentaries (Evans 12671). Expertly bound to style in full
period tree sheep, covers bordered with a gilt double fillet, flat spines in six compartments,
red and black morocco lettering pieces in the second and third, the others with an overall
repeat decoration in gilt. Provenance: Roger Sherman (early signature on vol. 1 endpaper).
The very rare first American edition of the single most important work on English law and
among the most influential works on the political philosophy of the Founding Fathers: complete
with the fifth volume, as well as all appendix, list of subscriber and ad leaves.
“Blackstone’s great work on the laws of England is the extreme example of justification of
an existing state of affairs by virtue of its history ... Until the Commentaries, the ordinary
Englishman had viewed the law as a vast, unintelligible and unfriendly machine; nothing but
trouble, even danger, was to be expected from contact with it. Blackstone’s great achievement
was to popularize the law and the traditions which had influenced its formation ... If the
English constitution survived the troubles of the next century, it was because the law had
gained a new popular respect, and this was due in part to the enormous success of Blackstone’s
work” (Printing and the Mind of Man).
Blackstone’s work is considered the definitive pre-Revolutionary source on the Common
Law, doing much to define conceptions of personal rights and the relationship between
the English citizen and his government. The philosophical issues addressed in the work,
especially the concepts of personal rights and the obligations of a subject to authority, were
obviously of great importance to American colonists in the years just before the outbreak
of the Revolution. The philosophy of the Declaration of Independence, asserting the selfevident, unalienable rights of people is arguably based in Blackstone’s description of the
rights of Englishmen. Indeed the list of grievances against the Crown within the Declaration
refer to many of the absolute rights of individuals covered by Blackstone.
Interestingly a contemporary owner has annotated the section within volume one which deals
with taxation in the American Colonies. Following the passage which states that the colonies
“ought to be, subordinate to and dependent upon the imperial crown and parliament of Great
Britain; who have full power and authority to make laws and statutes of sufficient validity to
bind the colonies and people of America, subjects of the crown of Great Britain, in all cases
whatsoever”, the contemporary owner has simply added: “not submitted to by the colonies.”
The present first American edition published by Bell in Philadelphia is a line for line
reprinting from the fourth Oxford edition of 1770. The 22-page list of subscribers lists 839
names spread throughout the colonies, with a total of 1557 copies ordered (at the cost of $2
per volume). This included John Adams, John Jay and other notable Americans, including a
total of 16 future signers of the Declaration. Complete sets with the Appendix are very scarce
on the market.
Evans 11996 (vols 1-2), 12327 (vols 3-4) and 12328 (Appendix); Hildeburn Pennsylvania 2635, 2749 and
2750; ESTC W30416, W12870 and W13024; Eller 80 and 255.
(#29369) $ 24,000
6
BODMER, Karl (illustrator). - Prince
Maximilian
zu
WIED-NEUWIED
(1782-1867).
Reise in das Innere Nord-America in den
Jahren 1832 bis 1834.
Coblenz: J.Hoelscher, 1839-1841. 2
volumes, large quarto (12 3/16 x 10
1/8 inches). 12pp. subscribers’ list. 1
engraved plan (facing p.70, vol.II), 1
lithographic plate (facing p.122, vol.II),
52 wood-engraved illustrations. Without
the folding meteorological table found in
some copies. Extra-illustrated with an
original parts wrapper. Expertly bound
to style in half tan calf over marbled
paper-covered boards, spines divided
into compartments by double gilt fillets
and roll tool, lettered in the second,
numbered in the fourth compartment,
the others with repeat decoration in gilt.
Provenance: W. Eames (signatures).
A fine copy of the text volumes recording
the 1832-34 travels of the German Prince
Maximilian of Wied-Neuweid and Swiss artist Karl Bodmer on the Upper Missouri River.
Prince Maximilian was already an experienced naturalist and explorer in 1832, having made
an important scientific expedition to Brazil in 1815-17. His preparations for his trip to North
America including retaining the skilled artist, Karl Bodmer, to record illustrations of the
journey. Arriving in the fall of 1832, the Prince ascended the Missouri River in the spring of
1833, going as far upstream as the American Fur Company post of Ft. Mackenzie in presentday Montana, and spending the winter at Ft. Clark, near the Mandan Indian villages. During
this prolonged stay, he and Bodmer had ample opportunity to observe the Indian tribes of
the Upper Missouri in their full glory, carefully recorded by Bodmer in watercolors. In the
spring of 1834 they returned to Europe, and devoted the next five years to preparing the text
and plates for this publication.
Prince Maximilian and Bodmer were able to record in both words and pictures the Plains
tribes in their heyday. They were witness to hunting parties, Indian dances, ceremonies and
life among the Mandans and other tribes, as well as the incredible scenery on the upper
Missouri before the era of mass settlement.
Abbey, Travel II, 615; Graff 4648; Howes M-443a (“dd”); Wagner-Camp 76.
(#22743) $ 15,000
7
BRITISH COLONIES IN AMERICA.
An Abridgement of the Laws in Force and Use in Her Majesty’s Plantations; (Viz.) Of Virginia,
Jamaica, Barbadoes, Maryland, New-England, New-York, Carolina, &c.
London: Printed for John Nicholson, 1704. 8vo (7 1/2 x 4 1/2 inches). [4], 284, 80, 6571, 100(i.e. 104), 285-304pp. Expertly bound to style in full period calf, spine with raised
bands in six compartments, morocco lettering piece in the second, the others with a repeat
decoration in gilt.
An important early 18th-century compilation of the laws of British dominions in North America
and the Caribbean.
While there is much information on slavery and tobacco, the laws are wide-ranging, laying
out fines and/or punishments for killing fish, fornication, shooting of guns, piracy, and much
more. In the section of New-England laws, the punishment for either blasphemy or bestiality
was death. Interestingly, one of the laws in Virginia states that, “No English Man shall for
any Consideration whatsoever purchase or buy any tract or parcel of Land now justly claim’d
or actually possest [sic] by any Indian.” That attitude, as with many expressed here, would
change. A rare and fascinating collection of British colonial law during the heyday of their
control over North America and the Caribbean.
Howes A22, “aa.”; Sabin 81; Jones 379.
(#28942) $ 6,000
8
BROWN, John (1800-1859) - [John Adams WHIPPLE, photographer].
Oval salt paper print portrait photograph of the abolitionist John Brown.
[Boston: 1856]. Oval salt print, 3 1/2 x 2 3/4 inches, mounted to a larger backing sheet. Some
tiny surface spots, image slightly faded, minor adhesive stain from a newspaper clipping
affixed just below the image. Matted.
A striking oval bust portrait of the radical abolitionist.
Following his bloody anti-slavery activities in Kansas, John Brown’s raid on Harper’s Ferry
in the fall of 1859 is often thought of as the spark that ignited the Civil War. This image was
taken in Boston in 1856 at the photography studio of John Adams Whipple. Following the
Pottawatomie Massacre, Brown spent the years 1856-1857 in Boston to promote his cause
and raise funds for what would become his famous raid on Harper’s Ferry.
Though a bit faded, this portrait is still a rare and essential image of the great abolitionist. We
locate two other copies of this salt paper print, one at the Portraits Collection at the Library
of Virginia, and another at the Kansas Historical Foundation; additionally the Massachusetts
Historical Society holds a quarter-plate daguerreotype of this portrait from the collection of
the photographer.
(#29481) $ 2,000
9
CARWITHAM, John, engraver (fl. 1723-1741).
A South-East View of the City of Boston in North America.
London: Printed for Carington Bowles, [circa 1780]. Engraving, on laid paper, full period
hand colouring. Linen backed at a very early date. Sheet size: 12 1/4 x 18 3/8 inches.
The third state of this important early view of Boston, based on an original drawing by William
Burgis.
“This interesting view of Boston from the bay, showing the waterfront with the Long Wharf
in the foreground, was apparently based on the first state of the 1723 Burgis prospect of
the New England city. When John Carwitham prepared the engraving, he added the Old
South Meeting House and Hollis Street Meeting house, both built in 1731. The spire of Christ
Church seen in the Burgis view -- then an architectural projection rather than a reality -was retained by Carwitham even though the spire would not be built until about 1740” (Deák
p.53).
Brightly hand-colored in a thick gouache, the engraving was intended by Bowles as part of
a series of prints to be used in a peep show or optical viewer. Operating one of the largest
print “warehouses” in London, Bowles capitalized on the interest in the American colonies
brought about by the Revolution and issued several such views of American cities. This is
the third state of the Boston view, with the number 34 added to the plate just to the left of
the title.
Deák Picturing America I,86; cf. J. Winsor Memorial History of Boston II,pp.531-2; Stokes and Haskall
American Historical Prints p. 14; Cresswell 496.
(#26907) $ 12,000
10
CATLIN, George (1796-1872).
Illustrations of the Manners, Customs, and Condition of the North American Indians with
letters and notes written during eight years of travel and adventure among the wildest and most
remarkable tribes now existing.
London: J.E. Adlard for Henry G.Bohn, 1866. 2 volumes, octavo (9 5/16 x 5 3/4 inches). 313
hand-coloured etchings on 180 plates, including 3 maps (1 folding and printed in colours).
(Upper outer corner of plate 105 torn away, clean tears to plates 151 and 179, all in vol.II).
Expertly bound to style in red half morocco over marbled paper covered boards, spines in
six compartments with raised bands, lettered in gilt in the second and fourth compartments,
with others with alternate decoration of either a large tool of a shoulder-length portrait of an
Indian, or a tool showing a crossed peace-pipe and tomahawk, gilt edges.
Deluxe issue: one of approximately twelve copies with the plates printed in outline and entirely
coloured by hand.
This book was and is one of the most widely circulated works on American Indians written
in the 19th century, and the illustrations so beautifully presented here remain the most
important body of illustrative material of American Indian life in the American West. This
is a later edition of Catlins’ Letters and Notes ..., styled the “10th edition” on the titlepage: the
London publisher, Henry Bohn, took over publication in 1845 and altered the title to that
given above.
What is important in this copy is the coloured plates. According to Sabin “Mr. Bohn had
twelve or more copies colored after the fancy of the artist who did the work, but tolerably
well.” Sabin knew Bohn personally and was therefore certainly in a position to know. He
goes on to state that ‘Such copies are worth $60 a set’ (this was probably a bit optimistic, and,
in fact, a set brought $24 at the Field sale in 1875. But, in comparison, a copy of the Indian
Portfolio... sold for only $1.50). Howes disagrees with Sabin and states that various editions
published by Bohn appear with the plates coloured, however, given the quality of the work
involved and the lack of any contemporary evidence amongst Bohn’s advertising material of
a more generally available coloured issue, it would seem likely that Sabin is correct.
The plates themselves are clean, fresh, and very handsomely coloured. It is impossible to
identify the colourist, but it was quite possibly was one of the Catlin copyists working in
England at that time, John Cullum or Rosa Bonheur. The plates illustrate scenes of Indian
life in the West, and include a number of portraits of individual Indians.
Clark III:141; Field 260; Howes C241; McCracken 8K; cf. G.A.Miles & W.S.Reese America Pictured to the Life
55 (1848 edition); Pilling 685; Sabin 11537; Streeter Sale 4277; Wagner-Camp 84.
(#18208) $ 27,500
11
CIVIL WAR.
[Album containing eighty-seven cartes-de-visite photographs of Union officers, most with an
original cut signature mounted beneath the image].
[Vp.: circa 1862-1865]. Oblong 4to (6 1/2 x 9 1/4 inches). Eighty-seven cartes-de-visite
photographs by Anthony, Taber and Brady, and sixty-three mounted cut signatures, within
twenty-four pasteboard leaves with diecut windows. With a lithographed title printed in gilt
by the album’s manufacturer (lithographed by Milton Bradley): The Mason Auto Photographic
Album. Samuel Bowles & Co., Springfield, Mass. Contemporary brown morocco, covers
elaborately tooled in gilt and with a central inset sunken panel, flat spine tooled in gilt and
blind, brass hinges and clasps embossed with Union shields and onlaid belt buckles, silk
endpapers, gilt edges.
A remarkable album of photographs of Union Generals, many with their autographs.
An extensive Civil War photo album containing cartes-de-visite portraits of eighty-seven
Union generals, admirals, commodores, and a captain, sixty-three of which include original
signature cuts or letter closings mounted underneath the portraits. Of the eighty-seven
CDVs, thirty are published by Anthony, ten by Taber, and one by Brady. The index leaf in
the rear is inscribed in a contemporary hand with almost all of the names of the officers
contained in the album. A handsome and painstakingly-created memorial of the men who
saved the Union.
A comprehensive list of the photographic subjects, in order in which they appear in the
album, is as follows (those with cut signature, as noted):
1) Winfield Scott, with cut signature
2) Ulysses S. Grant, with cut signature
3) Nathaniel Banks, with cut signature
4) George Meade, with cut signature
5) George McClellan, with cut signature
6) Ambrose Burnside, with cut signature
7) Edward Vose Sumner
8) Benjamin Butler, with cut signature
9) William T. Sherman, with cut signature
10) Joseph Hooker, with cut signature
11) George Henry Thomas, with cut
signature
12) Quincy Adams Gillmore, with cut
signature
13) John Gray Foster, with cut signature
14) William Stark Rosencrans, with cut
signature
15) John Sedgwick, with cut signature
16) John Charles Fremont, with cut signature
17) Winfield Scott Hancock, with cut
signature
18) Governeur Kemble Warren, with cut
signature
19) Daniel Butterfield, with cut signature
20) John F. Reynolds
21) Hugh Judson Kilpatrick
22) William Woods Averell, with cut
signature
23) Silas Casey, with cut signature
24) Irvin McDowell, with cut signature
25) Lew Wallace, with cut signature
26) Robert Schenck, with cut signature
27) Daniel Sickles, with cut signature
28) O.O. Howard, with cut signature
29) Abner Doubleday, with cut signature
30) George Stoneman, with cut signature
31) Michael Corcoran
32) Robert Anderson, with cut signature
33) William B. Franklin, with cut signature
34) Henry Halleck, with cut signature
35) Lovell Harrison Rousseau, with cut
signature
36) Christopher C. Augur, with cut signature
37) Napoleon J.T. Dana, with cut signature
38) Samuel R. Curtis, with cut signature
39) “Genl. Smith”
40) Samuel P. Heintzelman, with cut
signature
41) William H. French
42) George Lucas Hartsuff
43) Philip H. Sheridan, with cut signature
44) Innis Newton Palmer
45) Francis J. Herron, with cut signature
46) John Newton
47) Hiram Gregory Berry
48) John Pope, with cut signature
49) Don Carlos Buell, with cut signature
50) Ormsby McKnight Mitchel
51) John Alexander McClernand, with cut
signature
52) David Sloane Stanley
53) Alexander McDowell McCook, with
cut signature
54) John A. Logan, with cut signature
55) James A. Negley, with cut signature
56) John Adams Dix, with cut signature
57) Erasmus D. Keyes, with cut signature
58) John G. Parke, with cut signature
59) Julius Stahel, with cut signature
60) Darius N. Couch, with cut signature
61) George Sykes, with cut signature
62) John J. Peck, with cut signature
63) Thomas Francis Meagher
64) Gordon Granger
65) Jesse Lee Reno
66) Robert H. Milroy, with cut signature
67) Carl Schurz
68) Henry Warner Slocum, with cut
signature
69) James Birdseye McPherson, with cut
signature
70) Schuyler Hamilton, with cut signature
reading “C P Hamilton”
71) Franz Sigel
72) Montgomery C. Meigs, with cut
signature
73) William Alexander Hammond, with
cut signature
74) Andrew Hull Foote
75) David G. Farragut, with cut signature
76) John A. Dahlgren
77) Samuel Francis Du Pont, with cut
signature
78) Charles Wilkes
79) David D. Porter
80) Charles S. Boggs
81) William D. Porter
82) Francis Preston Blair, with cut signature
83) David Hunter, with cut signature
84) John Rodgers, with cut signature
85) Louis M. Goldsborough, with cut signature
86) A.H. Kelty
87) Joseph Smith, with cut signature
(#29688) $ 13,500
12 DIGHTON, Denis (1792-1827).
The North American Indian Warriors, from Lake Erie, of the Tribe of Seneca, who were in
London in 1818.
[London: 1819]. Hand coloured lithograph, printed by F. Moser. Paper-backed. Sheet size:
20 x 26 1/2 inches. Matted.
Rare hand coloured lithograph produced in London depicting seven touring Seneca Indians.
The names of the Native Americans depicted, posed in front of a painted panorama of the
Niagara Falls, appear in the margin below each in both phonetic Seneca and their English
translation: Beaver, I like her, Two Guns, Steep Back, Black Squirrel, Long Horns and Little
Bear. The group were part of a travelling show organized by Storr & Co., which sent the
seven Seneca warriors around England and who were particularly noticed and described by
the Society of Friends.
Denis Dighton was enrolled as a student at the Royal Academy, where he exhibited 17 paintings
between 1811 and 1825. Favored by the Royals, Denis was appointed military draughtsman
to the Prince Regent, and best known for his military portraits and battle scenes.
An impressive and very rare hand coloured lithograph.
(#29288) $ 18,500
13 FEATHERSTONHAUGH, James D.; and Richard L. MUDGE.
North American Boundary : Maps A and B, appended to the report of the British Commissioners,
appointed in 1839, to survey and explore the Territory in dispute between the governments of
Great Britain and the United States of America, under the second article of the Treaty of 1783.
[London]: Foreign Office, April 1840. Two maps engraved by James Wyld, as follows:.
Map A: Map of that Portion of Her Majesty’s Colonies of New Brunswick and Lower Canada
the Title to Which Is Disputed by the Government of the United States. Engraved folding
map printed on two sheets joined, dissected into 16 parts and mounted on linen as issued,
partially hand-coloured, edged in green cloth.
Map B: Referred to in the Report of Colonel Mudge and Mr. Featherstonhaugh, the
Commissioners Appointed by the British Government to Explore and Survey the Territory in
Dispute between Great Britain and the United States of America under the Second Article of
the Treaty of 1783. 8 engraved maps printed on two sheets joined, dissected into 12 sections
and mounted on linen as issued, partially colored in outline, edged in green cloth.
Rare case map.
“Territorial encroachments initiated by Maine on British lands in Aroostook culminated in
1839 with the menacing encampment of 10,000 Maine troops on British borders. General
Winfield Scott was sent by the Federal Government to negotiate a truce with the Lieutenant
Governor of New Brunswick. Great Britain, now convinced of the gravity of the situation,
authorized a boundary commission headed by Mudge and Featherstonhaugh. Their findings
were incorporated into the Webster-Ashburton Treaty (1842) which allowed for free
navigation of the St. John River and rectified the boundaries at the head of the Connecticut
River, the north end of Lake Champlain, in the Detroit River and at the head of Lake Superior”
(Siebert).
Phillips, p. 603; Streeter sale 3706; Siebert sale 24.
(#24727) $ 8,500
14 FRANKLIN, Benjamin (1706-1790).
Political, Miscellaneous, and Philosophical Pieces ... now first collected ...
London: Printed for J. Johnson, 1779. Quarto (8 1/2 x 6 3/4 inches). xi,[1],567,[7]pp.
Engraved portrait frontispiece, three plates (one folding), and folding table. Expertly bound
to style in period full smooth calf, flat spine divided into compartments with gilt roll tools,
red morocco lettering piece in the second, the others with a repeat decoration in gilt.
The very rare quarto issue of the only edition of Franklin’s works published in the author’s
lifetime, with an errata prepared by him.
It is a tribute to the esteem in which Franklin was held that this was published in London
while he was American ambassador to a hostile power during the Revolution. The work was
edited by his close friend, Benjamin Vaughan.
Many of the pieces published here relate to the Revolution, including the transcript of
Franklin’s famous appearance before Parliament in 1766 in which he argued successfully
for the repeal of the Stamp Act. Also present here is the culmination of his sagacious Poor
Richard advice, his The Way to Wealth. And although the compilation is predominantly
political or social essays, the collected work also includes his paper on the effectiveness of
lightning rods. The work closes with Franklin’s famous mock epitaph: “The body of / B.
Franklin, Printer / (Like the Cover of an Old Book / Its Contents torn Out / And Stript of its
Lettering and Gilding) / Lies Here, Food for Worms. / But the Work shall not be Lost; / For
it will (as he Believ’d) Appear once More / In a New and More Elegant Edition / Revised and
Corrected / By the Author.”
While we have handled a number of copies of the regular issue of this work, this is the first time
we have encountered a quarto issue, significantly taller and wider than the smaller regular
octavo issue. Both versions are identical in collation and type-setting. A contemporary
review of the work in The Monthly Review reveals that the work was published in octavo (at
the price of 6s) or in quarto “to match the Author’s Philosophical Papers” (at 10s. 6d.), i.e. his
Experiments and Observations on Electricity (London:1774).
Howes F330, “aa”; Sabin 25565; Ford 342; American Controversy 79-38b.
(#29277) $ 9,500
15 HENSON, Josiah (1789-1883).
The Life of Josiah Henson, formerly a slave,
now an inhabitant of Canada, as narrated
by himself.
Boston: Arthur D. Phelps, 1849. 8vo (6
5/8 x 4 3/8 inches). iv, 76pp. Publisher’s
lettered wrappers, rear wrapper renewed.
Housed in a black morocco box.
The rare first edition of Josiah Henson’s
autobiographical slave narrative: an
important influence on Harriet Beecher
Stowe’s Uncle Tom.
Josiah Henson (1789-1883) was born into
slavery in Charles County, Maryland.
After a failed attempt to purchase his
freedom in 1830, and fearing that his
then Kentucky owner would sell him into
the deep south, Henson escaped with his
family, walking from Kentucky, though
Ohio and upstate New York, before
settling in Ontario Canada. He would
serve as Captain of the Essex Coloured Volunteers during the Canadian Rebellion of 1837,
and was a noted conductor of the Underground Railroad, helping bring fugitive slaves to
freedom in Canada.
His autobiography, as the preface indicates, was dictated to another unnamed writer, though
“the substance of it ... the facts, the reflections and very often the words, are his; and little
more than the structure of the sentences belongs to another.” This is the first edition of the
narrative, with later versions published under different titles in 1858 (Truth Stranger than
Fiction) and 1876 (Truth Is Stranger than Fiction).
Both of the later editions include a foreword by Harriet Beecher Stowe, and it was commonly
believed that Henson’s story formed the basis for the character Uncle Tom in Stowe’s Uncle
Tom’s Cabin. Stowe herself in The Key to Uncle Tom’s Cabin (1853) references Henson’s
narrative as proof of the treatment of slaves, though modern scholarship suggests that
Henson’s narrative was but one of the influences on Stowe’s depiction of Uncle Tom.
The work is very rare, with no other examples selling at auction in the last quarter century.
Sabin 31432. Not in Work (citing only the 1879 edition).
(#29314) $ 7,500
16 HILLIARD D’AUBERTEUIL, Michel Rene (1751-1789).
Essais Historiques et Politiques sur les Anglo-Américains ... [continued as:] Essais Historiques et
Politiques sur la Révolution de l’Amérique Septentrionale...
Bruxelles: 1781-1782. 3 volumes (text in 4 parts in two volumes, plus an atlas), 8vo (7 3/8
x 4 3/4 inches). xvi, 198; xii, 199-441, [1, blank]; xii, 208; xiv, [209]-436pp. Half-titles and
sectional titles to each part. 9 engraved plates (including portraits of Washington, Hancock,
Franklin and Pitt), 9 engraved folding maps (including a plan of the Battle of Monmouth).
Expertly bound to style in half calf over period marbled paper covered boards, flat spines
divided into compartments, red morocco lettering pieces in the second and third, the others
with a repeat decoration in gilt.
First edition of a rare history of the American Revolution, published shortly after Yorktown and
before the Treaty of Paris, including fine portraits of Washington, Franklin and Hancock, as well
as an important plan of the Battle of Monmouth.
This work is complete with the following 18 plates and maps (many copies apparently only
issued with 17), here bound as a separate atlas:
Plates (sheet sizes measuring 7 1/2 x 4 3/4 inches):
1) Premiere Assemblee du Congres. After Le Barbier, engraved by Beaufoy.
2) J. Hancock. Engraved by Pelicier
3) G. Washington. After Trumbull, engraved by Le Roy.
4) Contemplez l’Ouvrage du Pouvoir arbitraire. After Le Babier, engraved by Patas.
5) Son merite personnel l’emporte sure toutes les considerations
6) Incendie de New-York. After Le Barbier, engraved by Halbou.
7) Benjamin Franklin. Engraved by Pelicier.
8) William Pitt / Il faut declarer la guerre a la France.
9) La Balle a Frappe son Amante. After Le Barbier, engraved by Halbou.
Maps (all folding, without imprints or engravers names, sizes are sheet sizes):
1) Carte de l’Amerique Septentrionale, depuis La Baye d’Hudson jusqu’au Mississipi. 17 x 15
1/2 inches.
2) Carte de la Nouvelle Angleterre ... par M. Brion de la Tour ... 9 1/2 x 14 1/4 inches
3) Carte du Canada, de la Nouvelle Ecosse et de l’Acadie. 9 5/8 x 14 3/8 inches.
4) Carte des deux Carolines et de la Georgie. 9 5/8 x 13 3/4 inches
5) Carte de la Nouvelle York, y-compris les Terres cedees du N. Hamp-shire, sous le nom
d’Etat de Vermont. 10 1/8 x 14 1/2 inches.
6) Carte de la Virginie, du Maryland et de l’Etat de Delaware. 9 5/8 x 14 1/2 inches.
7) Carte de la Pensylvanie et de Nouveau Jersey. 10 1/8 x 14 5/8 inches.
8) Carte de la Route des Lacs, depuis Montreal et St. Jean, jusqu’a la Riviere d’Hudson. 8 3/4
x 16 3/8 inches.
9) Plan de la Bataille de Monmouth ou le G.l Washington Commandait l’Armee Americaine
et le G.l Clinton l’Armee Anglaise, le 28 Juin 1778. 10 1/4 x 16 inches. [After Capitaine Michel
Du Chesnoy]. One lettered and 22 numbered references. “The only contemporaneously
published plan of this, the last major confrontation of the British and American armies in the
northern theater” (Nebenzahl 140).
The author lived in St. Domingue in the 1760s and in 1776 published an account of the
colony highly critical of the French administration, for which he was forced to flee Paris for
North America, where he lived for several years during the Revolution. He returned to Paris
toward the end of the war and published his Essais historiques, drafts of which he sent to
Benjamin Franklin and through whom he forwarded copies to America. Thomas Jefferson
would write to the author on 20 February 1786: “America cannot but be flattered with the
choice of the subject on which you are at present employing your pen. The memory of the
American revolution will be immortal, and will immortalize those who record it.”
The present example is the rare first edition; a second issue would follow in quarto format.
Howes H493; Sabin 31899.
(#28906) $ 8,500
17 KEMPT, James (1764-1854).
Description of the Telegraph [caption title
above first text leaf].
[Quebec: 1809]. 8vo (8 7/8 x 5 1/2 inches).
Woodcut frontispiece, [4], [24]pp. The
fore-edge knotched as issued to create
an alphabetical thumb index. Later red
morocco backed cloth boards, bound by
Sangorski and Sutcliffe, spine lettered in
gilt.
A very rare code book for a semaphoric
device designed to allow communication
between British stations on the St. Lawrence
River.
Between 1807 and 1811 Kempt was
quartermaster general in British North
America, and in 1809 promoted colonel.
The preliminary instructions for the
operation of this “telegraph” is signed in
print by Kempt and dated Quebec, 1st
April 1809, suggesting the place and date of
publication.
Kempt’s proposal for telegraphic communication for station to station communication
along the river St. Lawrence was relatively simple: words are represented by numbers and
the numbers are symbolically represented by slides and hanging balls from lower and upper
arms of a pole. The present alphabetically organized code book lists over 3300 words with
their respective numbers. Flags would be raised to signal the beginning and end of each
message, the message repeated station-to-station along the line.
The code book, issued without title, is comprised of a woodcut frontispiece (headed “The
Telegraph”) followed by a 1p. Description of the Telegraph, 2pp. Instructions for the Use of
the Telegraph, 1p. Numerical Alphabet (each letter of the alphabet numbered 1-25, with IJ
both as number 9), followed by 24pp. alphabetical vocabularly of numbered words, including
numbers without respective words evidently meant to be able to expand the vocabulary as
necessary.
Very rare: OCLC cites but 3 extant examples (British Library, American Antiquarian Society,
National Maritime Museum).
(#29296) $ 3,250
18 LEWIS, James Otto (1799-1858).
[The Aboriginal Portfolio].
[Philadelphia: Lehman & Duval, 1835-1836]. Folio (17 3/4 x 10 1/4 inches). Three letterpress
advertisement leaves. 72 hand-coloured lithographed plates after Lewis by Lehman & Duval.
Expertly bound to style in dark purple morocco over purple cloth covered boards, spine with
raised bands, tooled in gilt and blind on either side of each band, lettered in gilt in the second
compartment, marbled paper endpapers.
First edition. Scarcer than McKenney and Hall’s ‘History of the Indian Tribes’, Prince Maximilian’s
‘Reise in das Innere von Nord-America’ or Catlin’s ‘North American Indian Portfolio’, Lewis’
work records the dress of the Potawatomi, Winnebago, Shawnee, Sioux, Miami, Fox, Iowa and
other tribes at treaties of Prairie du Chien, Fort Wayne, Fond du Lac and Green Bay.
The Aboriginal Port Folio was published in Philadelphia by lithographers George Lehman
and Peter S. Duval. It was issued in ten parts, with each part containing eight plates. Given
the size of the undertaking the first nine parts were issued remarkably quickly, and appeared
monthly between May 1835 and January 1836. The reason for this haste is probably that Lewis
was aware that the imminent appearance of the first part of McKenney and Hall’s History of
the Indian Tribes of North America would adversely affect his subscriber-numbers. The
evidence of the surviving copies suggests that his fears were well-founded as there are a
number of sets made up from eight parts (with 64 plates), but very few with nine parts (72
plates) and ten-part sets with the full complement of a frontispiece/title-leaf and eighty plates
are virtually never found: only the Siebert copy is listed as having sold at auction in the past
twenty-five years, and there are only about a half dozen or so other recorded sets (the Siebert
set, and one other, are the only two examples to include the title page).
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become
an engraver and painter by the time he was living in St. Louis in 1820. In 1823 he moved
to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass
of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes
region in 1825-27 and painted Indians during the course of each. Virtually all of the originals
of the images published here were executed by Lewis in this period. Subsequently, many
of the Lewis portraits were copied by Charles Bird King, and some appeared in the King
versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in
the Smithsonian fire of 1865.
Bennett, p.68; Eberstadt 131:418; Field 936; Howes L315; Sabin 40812; Reese Stamped with a National
Character 23; Reese James Otto Lewis and his Aboriginal Portfolio, New Haven: 2008
(#26712) $ 100,000
19 LOUISIANA TERRITORY.
Acts Passed at the First Session of the
Legislative Council of the Territory of Orleans,
begun and held at the principal, in the City
of New-Orleans .... [and:] Acts Passed at the
Second Session of the Legislative Council of
the Territory of Orleans, begun and held at the
principal, in the City of New-Orleans.
New Orleans: Printed by James M. Bradford,
1805. 2 volumes in one, 8vo. xxxiv,461;
xii,95pp. Expertly bound to style in half calf
over period marbled paper covered boards,
flat spine divided into compartments by gilt
rules, red morocco lettering piece in the
second.
The first session laws issued by the Orleans
Territorial Legislature, with the text printed
in English and French on facing pages,
constituting the first American laws printed in
the West.
In March, 1804, the Louisiana Purchase
was divided into the Territories of Orleans (south of the present border of Arkansas and
Missouri) and Louisiana (everything to the north and west, governed until 1807 by Indiana
Territory). The influence of French and Spanish laws in North America is evident in these
early territorial laws, as it took Congress more than two decades to determine their intent
with regard to existing Spanish and French law.
These two works are the same as the second and third works bound with the COMPILATION
of New Orleans laws in item 1587 in the Streeter sale. “At the first session of the Legislative
Council 51 Acts and one joint resolution were approved, the latest on May 1, 1805; and at the
second session 15 acts were approved, the latest dated July 3, 1805” (Streeter).
Jumonville 121, 122; cf. Streeter 1587; Foote, pp.2-3; McMurtrie, New Orleans 77, 78; Shaw & Shoemaker
9072, 9073; Thompson 1079, 1080.
(#29488) $ 7,500
20 NEW HAMPSHIRE.
Acts and Laws of His Majesties Province of New-Hampshire in New-England. With Sundry Acts
of Parliament. By order of the Governor, Council and Assembly, Pass’s October 16th. 1759.
Portsmouth: Daniel Fowle, 1761. Folio (12 1/2 x 7 1/2 inches). Title within typographic
border. [2], xii, 240pp. Uncut. Contemporary marbled paper wrappers. Housed in a dark
red chemise and full morocco box.
The earliest significant New Hampshire imprint and the first collection of laws to be published in
New Hampshire, printed by New Hampshire’s first printer.
Fowle’s first edition of New Hampshire laws, just the third compilation of the laws of the
colony (the first since the year 1726), was the first collected laws published in New Hampshire.
An attractively-printed early New Hampshire compilation of laws printed by Fowle, New
Hampshire’s first printer who had arrived from Boston in 1756. The first compilation of
New Hampshire laws was published in 1716, followed by the revision of 1726; however no
subsequent publication of the collected laws of the colony were printed until the present
edition of 1761. Fowle would publish a new edition a decade following this work.
Scarce, with only one other example at auction in the last half century. Not in Tower.
Evans 8943; Sabin 52782; Whittemore New Hampshire 50
(#29377) $ 35,000
21 NOVA SCOTIA, General Assembly.
The Temporary Acts of the General Assemblies of His Majesty’s Province of Nova Scotia. Halifax
... [BOUND WITH: the temporary acts passed at the subsequent sessions consecutively through
1794].
Halifax, Nova Scotia: Robert Fletcher [and Anthony Henry], 1767[-1794]. 30 volumes in
one, folio (11 1/2 x 7 1/4 inches). [2], 65, [1, blank]pp. Woodcut royal arms on the title,
2pp. partial manuscript index following the title. Bound with 29 continuations, each with
caption titles, consecutively paginated to the first work (though with numerous errors in
pagination, as issued) occupying 67-419pp. Expertly bound to style in half russia over period
marbled paper covered boards, spine with raised bands in six compartments, black morocco
lettering piece in the second, the others with a repeat decoration in gilt. Provenance: James S.
McDonald (signature).
An extraordinary survival of 18th-century printing in Canada: the first revised edition of Nova
Scotia temporary statutes, bound with consecutive continuations of the session temporary laws
through the American Revolution to 1794.
The first work is the first revised edition of Nova Scotia temporary statutes, i.e. laws which
had been passed for a limited time or purpose (the permanent statutes occupying a separate
publication with separate continuations), from the first session of the Assembly in 1758 to
October 1767. “It gives title and marginal note of acts expired, repealed, etc. and text of those
still in force. The revision was made by Judge Duport with notes by Chief Justice Belcher”
(Tremaine). Two hundred copies were printed, largely for the use of the Assembly.
Printing began in Canada in 1751 on a press brought to Halifax by Boston printer
Bartholomew Green, who died within a month of arriving. The business was immediately
taken over by John Bushell, who printed his first act for the government of Nova Scotia in
1752. His apprentice, Anthony Henry, became a partner in the shop in 1760 and assumed
full control following Bushell’s death in 1760. However, he angered the local government in
1765, when his young apprentice Isaiah Thomas published a notice in the Halifax Gazette,
presumably with Henry’s blessing, opposing the Stamp Act. Henry was dismissed as the
official printer and Robert Bushnell assumed the position in 1766. Among Buchnell’s first
major undertakings was to print the first revision of the laws of the province, which became
known as the Belcher edition due to the notes supplied by Chief Justice Jonathan Belcher.
This first revision was divided into two separate publications, the perpetual acts and the
temporary acts, and each was then continued with the respective acts appearing in print
following each session of the Assembly, each with consecutive pagination to the previous
session’s laws.
The present bound volume is extraordinary for its comprehensiveness, comprising the 1767
revision of the temporary acts followed by twenty-nine consecutive continuations thereof.
While the pagination was intended by the printer (or printers, as Henry resumed his position
as government printer in 1770 until his death in 1800) to be continuous, numerous errors in
pagination occurred. These errors were greatly compounded in 1790 when Henry accidently
confused the continuous pagination of the temporary acts with the perpetual acts. Many of
the page numbers have been corrected in manuscript at an early date in the present example.
Interestingly, evidence of red wax seals can be seen in the gutter margin between many of the
session continuations, indicating how these separate printings were originally conjoined to
the previous session’s laws.
Many of the continuations within this bound volume of temporary laws include acts passed
in response to the American Revolution. Among these is 6 George III, Cap. 1, at a session
ending in October 1775, titled “An Act for raising a tax on the inhabitants of this Province,
for defraying the expense of maintaining and supporting the militia of said province and
for the defense of the same”, which begins with a lengthy preamble on the “most unnatural
and dangerous Rebellion against the Laws of Great Britain, and his Majesty’s Government
in America.” Others include acts relating to desertion, the transferring of prisoners and the
seizure of goods of those who have committed “Crimes against His Majesty,” and several
additional taxes to raise revenue in the province.
This volume with provenance to James S. McDonald, who has signed the title and included a
partial manuscript index; this is presumable James S. McDonald (1754-1856), the grandfather
of James McDonald (1828-1912), who served as the Chief Justice of Nova Scotia from 18811904.
All Nova Scotia imprints from the first half century of printing in the province are rare.
A small number of copies of the 1767 Belcher revision are extant in Canadian institutions
(Tremaine identifies 17, though many are defective), and far fewer of each of the session
continuations. However, eighteenth century Nova Scotia imprints seldom appear on the
market, let alone a bound volume of thirty such examples. The last such comparable item
we could identify was offered by A.S.W. Rosenbach in 1917, being the Belcher revision of the
perpetual acts bound with only seven continuations through 1776, priced at an astounding
$2,400 and with the description: “Of the utmost rarity, especially with the extra sessions. We
know of no other copy as complete as this.”
Tremaine 112, 125, 140, 142, 150, 160, 168, 180, 182, 191, 209, 211, 239, 263, 294, 318, 340, 359, 377, 431,
433, 490, 492, 524, 601, 649, 716, 795, 847, 903; Sabin 56194; Fleming & Alston Early Canadian Printing 114.
(#28898) $ 22,500
22 [PARSONS, Francis; after].
Cunne Shote, the Indian Chief, A Great Warrior of the Cherokee Nation, by James McArdell.
London: Sold at the Golden Head, in Queen Square, Ormond Street, [circa 1762]. Mezzotint,
printed in sepia, trimmed to or just within the platemark. Sheet size: 13 3/4 x 9 7/8 inches.
Tipped to a larger sheet at an early date. Matted.
Rare mezzotint portrait recalling the Cherokee embassy to George III in 1762, one of a handful
of European prints of American Indians executed from life during the colonial period.
Cunne Shote (or Cumnacatogue, Stalking Turkey, or Standing Turkey) was one of the three
Cherokee chiefs who traveled to London in 1762. The Cherokees were escorted by Henry
Timberlake and Thomas Sumter on a state visit to meet the new English King, George III, who
was crowned in 1760. The present portrait represents the dress worn by Cunne Shote, a chief
of the Overhills Cherokee, when he was presented to King George III. He is shown wearing
the breastplate and medallions presented to him by the King, a white shirt and blanket which
are probably trade goods, and he wears a Cherokee armband, bracelet, beads, and choker.
The chief ’s dignity is evident in this portrait, and dignity was a feature of the whole visit.
The chiefs had been schooled in court etiquette by Timberlake, although when first meeting
George III they chose to greet him the Cherokee way, and the senior chief (probably Outacite
[or Outacity, Ostenaco, Judd’s friend, or Mankiller]) warmly embraced the English king. As
a whole, the embassy was not a success, as the British government chose to officially ignore
the delegation, and they eventually returned to America, having made a great impression on
everyone they met, but without achieving any of the concessions on land issues for which
they had come. The original oil by Francis Parsons on which this print is based is now in the
Gilcrease Museum in Tulsa, Oklahoma.
The portrait is interesting for several reasons. As a portrait of a Native American, it is
remarkably superior to similar works in which the subjects have Caucasian features and
what might be called an overlay of European cultural presumptions. Cunne Shote’s serenity,
his direct and steady eye, and the ready knife in his hand all tell of a nature quite alien to
European notions. Few printed portraits of American Indians succeeded in conveying the
dignified presence that so impressed European writers, and this is one of the exceptions.
J. Chaloner Smith, II, p.854, no.50 (Cunne Shote.).
(#29284) $ 25,000
23 [RHODE ISLAND] .
The Charter Granted by His Majesty King Charles the Second, to the Colony of Rhode-Island,
and Providence-Plantations in America ... [Bound with:] Acts and laws of His Majesties colony
of Rhode-Island, and Providence-Plantations in America.
Boston: John Allen, for Nicholas Boone, 1719. Folio (11 1/8 x 6 5/8 inches). [2],8,[2],102,[3]pp.
Expertly bound to style full period mottled calf, spine with raised bands in six compartments,
lettered in the second.
The first digest of laws issued by the colony of Rhode Island, issued with the colonial charter.
The acts and laws present in this first collection are those passed March 1663 through May
1718. According to Sidney Rider’s 1895 work, issued with a facsimile of these laws, one
copy was printed for each member of the Assembly, one for each of the towns, and a further
twenty-nine copies remained to be distributed throughout the region as needed. Fewer than
ten copies noted by ESTC. Rare, and the first copy this firm has handled in forty years of
business.
Evans 2070,2069; ESTC W7731.
(#28948) $ 16,500
24 SAGARD-THEODAT, Gabriel (fl. 1614-1636).
Le Grand Voyage du Pays des Hurons, situé en L’Amerique vers la Mer douce, és derniers confins
de la nouvelle France, dite Canada ... [Bound with:] Dictionaire de la Langue Huron ...
Paris: Denys Moreau, 1632. 8vo (6 1/2 x 4 1/4 inches). Engraved title. [22],380,[4, blanks];
12,[146],[14]pp. Contemporary vellum.
A fine unsophisticated copy of the first edition of an important rarity on the Native Americans
of Canada and the Great Lakes region.
Sagard, a Recollet missionary, arrived in Canada in 1623 and spent nearly a year among the
Hurons. His book, based largely on his own experiences and those of his associates is the first
detailed description of the region between Georgian Bay and Lake Simcoe, is considered to
be the main authority for the history of the first Recollet mission in Canada, and is a primary
source for Indian life and relations with the French in this early period.
“Six chapters recount the ocean crossing, the journey from Quebec to the lac des Hurons,
and the authors return to France. The remainder of the work studies the Huron customs and
way of life, and the flora and fauna of the country. It is a brilliant, astonishingly precise fresco
... Sagards work, devoted to the early days of New France, commands respect: the author is a
reliable, competent, and honest witness” (Dictionary of Canadian Biography).
The Huron dictionary is the first printed Huron vocabulary, a collection of French expressions
translated into Huron, to be used as a manual by traders and missionaries. Sagard assembled
it from his own work and those of other missionaries, and it remains the most complete
compilation extant dealing with the old Huron language.
European Americana 632/86; Arents 181; Bell S33; Church 421; Field 1341,1342; Harrisse (Nouvelle France)
52, 53; JCB II:243-44; Lande S2012; Pilling, Iroquoian, p.147; Sabin 74881, 74883; Streeter Sale 93; Vlach 661;
TPL 6305; Greenly, Michigan 10; 100 Michigan Rarities 1; Howgego S-9.
(#29552) $ 36,000
25 SLAVERY, Abolitionist Periodical - PENNOCK, Abraham; Samuel RHOADS; and George
W. TAYLOR (editors).
The Non-Slaveholder ... [Volume 1, Number 1 through Volume 3, Number 12] ...
Philadelphia: Merrihew and Thompson, 1846-1847-1848. 3 volumes in one, 8vo (9 7/8 x 6
1/4 inches). iv, 200; iv, 288; viii, 288pp. Each volume comprising 12 numbers, each volume
with general title page and index, supplemental leaf preceding vol. III. Expertly bound to
style in half black morocco over period cloth covered boards, period marbled endpapers,
spine lettered in gilt.
Consecutive run of the first three years of a scarce anti-slavery periodical.
This work, the official organ of the Philadelphia Free Produce Society, advocated on behalf of
the Quaker movement to boycott slave grown products. Edited by the ardent Philadelphia
abolitionists Abraham L. Pennock, Samuel Rhoads and George W. Taylor, the work began in
1846 and continued through 1850 (with a “new series” under different editors resuming in
1853 and continuing through 1854). All volumes and issues are rare.
Of particular note are the appearances of two letters by Frederick Douglass (vol. 2, number
8: describing his 18-month anti-slavery crusade in Great Britain; vol. 3, no. 11: letter to his
former master reprinted from the North Star), as well as poetry by John Greenleaf Whittier.
(#29379) $ 7,500
26 TOCQUEVILLE,
Alexis de (1805-1859); Translated by Henry REEVE and with preface
and notes by John C. SPENCER.
Democracy in America ... [With:] Democracy
in America. Part the Second.
New York: George Dearborn & Co and Adlard
and Saunders [vol. 1], 1838; J. H. Langley [vol.
2]: 1840. 2 volumes, 8vo (8 1/4 x 5 1/4 inches).
xxx, 464; xx, 355pp. Expertly bound to style in
half dark purple morocco over period purple
cloth covered boards, spine with raised bands
in six compartments, lettered in the second
and fourth, marbled endpapers.
The first American editions of both parts of
Tocqueville’s famous classic Democracy in
America: one of the most influential works of
the 19th century.
From the time of its first publication,
Democracy in America enjoyed the reputation
of being the most acute and perceptive
discussion of the political and social life of the
United States ever published. The first part was published in Paris in an edition of less than
500 copies in January 1835. The book was an instant and sustained success and numerous
editions, many with revisions, followed quickly, so that the second part, first published in
Paris in April 1840, was issued concurrently with the eighth edition of the first part.
The origins of the book lie in the observations Alexis de Tocqueville made during a nine
month tour of the United States starting in the spring of 1831. He was accompanied by his
friend and fellow student, Gustave de Beaumont, and their original goal was to study the
penitentiary system of the United States. After visiting prisons in the East, they undertook
a tour of the South as far as New Orleans, ascended the Mississippi, visited the Great Lakes
and Canada, and returned via New York. After writing their report on prisons, Tocqueville
worked on the first part of Democracy in America in 1833-1834, publishing it in Paris in 1835
to great acclaim. The second part was equally as successful and the book remained in print
throughout the 19th century: there were probably more than fifty editions in English and
French published before 1900, besides numerous translations.
The first American editions are scarce, with each volume published separately in 1838 and
1840 respectively; as the publisher’s ad preceding the title of the second volume makes clear,
the two parts were republished together in 1840, but are preceded by the present separate
issues.
Howes T278 & T279; Sabin 96064 and 96065; Library of Congress, A Passion for Liberty, Alexis de Tocqueville
on Democracy & Revolution (Washington, 1989).
(#29329) $ 5,850
27 VIRGINIA, Colony of.
A Collection of all the Acts of Assembly, Now in Force, in the Colony of Virginia. With the titles
of such as are expir’d, or repeal’d. And notes in the margin, shewing how, and at what time, they
were repeal’d. Examin’d with the records, by a committee appointed for that purpose.
Williamsburg: William Parks, 1733. Folio (13 1/2 x 8 1/2 inches). [2], 622pp. (Without the
list of subscribers, found in few copies). Woodcut arms of Virginia on the title, ornamental
headpieces and tailpieces throughout. (Light dampstaining in upper corner) With the first
state of printing on p. 391. Expertly bound to style in full period calf, spine with raised bands
in seven compartments, morocco lettering piece in the second. Provenance: Lewis Morris,
Jr. (1698-1764, signature on title, manuscript annotation on p. 440); Robert Hunter Morris
(1808-1855, signature on title and p. 95).
The first collection of Virginia laws published in Virginia and the first significant book published
in the colony, issued by its first printer, William Parks: of the greatest importance for Virginia
and the history of printing in America.
The beginnings of printing in Virginia can be traced to 1682, when William Nuthead arrived
in Jamestown with a press, seeking to print the acts of the Assembly. Gov. Thomas Culpeper
threw him out, and Nuthead left for Maryland without issuing a single publication. Culpeper’s
successor banned printing altogether, and fifty years would pass before the establishment of
printing in Virginia. In February 1728, William Parks, the official printer to the Maryland
Assembly since 1726, seeking to expand his business, petitioned the Virginia Assembly for a
similar position. Receiving the commission, Parks opened an office in Williamsburg in 1730.
That year, he published what is generally credited as Virginia’s first imprint: John Markland’s
Typographia: An Ode to Printing , a 15-page paean to Sir William Gooch, the governor who
had approved the invitation to Parks. This survives on a unique copy, at the John Carter
Brown Library. A handful of broadsides, almanacks and pamphlets followed, all surviving in
single copies, until the publication of the present volume, the first work of any size published
in the colony.
Edited and prepared for press by George Webb, this collection was the first collection of
Virginia laws to be compared with the official scribal record by a committee of the General
Assembly (John Holloway, John Clayton, Archibald Blair, John Randolph, and William
Robertson) and is considered more accurate than any previous compilation, as well as being
the first collection of Virginia laws to be published with legislative sanction. The work
contains all the acts then in force from 1662 through the spring 1732 session of the Assembly.
Most of the earlier laws would seem to have been copied from the London, 1684 collection of
Virginia laws, with the rest set directly from the scribal record. This included, among many
historic acts, the first printing of the infamous slave code of 1705 (4 Annae, Cap. 49, see pp.
218-228), the foundation of Virginia’s slave legislation which codified slave status, defining
slaves as real estate, and acquiting masters who kill slaves during punishment, among other
horrors. The work also includes the far reaching 1723 act passed in response to fear of slave
insurrections (9 George I, Cap. 4, pp. 339-344), which all but precluded manumission, denied
the rights of freed slaves to vote, prohibited assembly by slaves on pain of death and more.
Given the number of copies needed for official purposes (Justices of the Peace, members
of the Assembly, clerks and justices of the county courts, etc.), plus the 230 known private
subscribers, it is estimated that upwards of five hundred copies were printed; an astonishing
task on a recently-established American colonial press. About twenty complete copies have
survived. Almost all of these have been in institutional collections since the early 20th century.
The quality of printing is impressive; this is perhaps the finest example of Virginia colonial
printing, and among the most beautiful works published in all of colonial America. The type
(similar to Caslon) and paper are believed to have been imported from Holland; ornamental
headpieces, tailpieces and fleurons are evidenced throughout.
This copy has a distinguished provenance, belonging to Lewis Morris, Jr. (1698-1764),
the second son of New Jersey Governor Lewis Morris, the second Lord of the Manor of
Morrisania, and the father of the Signer of the Declaration of Independence Lewis Morris.
Like his father, Morris was a noted American jurist, serving as the Judge of the High Court
of the Admiralty of New York, with jurisdiction over New Jersey and Connecticut, and Judge
of the Court of Ayer and Termine. The volume is further signed by his descendent, Robert
Hunter Morris (1808-1855), noted attorney and 64th Mayor of New York City.
Evans 3728; Swem III:22517; Clayton-Torrence 124; Sabin 100385; Berg, Williamsburg Imprints 10; A.
Franklin Parks, William Parks, The Colonial Printer In The Transatlantic World, University Park, 2012.
(#28881) $ 35,000
28 WILSON, Woodrow (1856-1924).
Message du President Wilson lu au Congres des États Unis d’Amerique Le 2 Avril 1917.
Paris: Impremerie des Journaux officiel, [1917]. Broadside, text in two columns. 37 x 25 1/2
inches. (Small areas of paper loss in upper and lower margins from hanging).
America enters World War I: a French broadside printing of President Wilson’s address to
Congress asking for a declaration of war against Germany.
After years of insisting on neutrality, the sinking of the Lusitania and the infamous
Zimmermann Note scandal persuaded Wilson that the time for action was at hand. On 2
April 1917, before a special joint session of Congress, Wilson asked for a declaration of war
against Germany, and America entered World War I. Wilson’s speech -- known as “The world
must be made safe for democracy” speech -- would be a defining moment of his presidency,
and America entering the war would, in turn, be the beginning of the end of the first World
War.
In the speech, printed here in French on a large sheet and no doubt hung in the streets of
Paris, Wilson began with a harsh condemnation of German unrestricted submarine warfare
and a review of the reasons why neutrality was no longer possible. He then continued:
“With a profound sense of the solemn and even tragical character of the step I am taking
and of the grave responsibilities which it involves, but in unhesitating obedience to what
I deem my constitutional duty, I advise that the Congress declare the recent course of the
Imperial German government to be in fact nothing less than war against the government and
people of the United States; that it formally accept the status of belligerent which has thus
been thrust upon it; and that it take immediate steps, not only to put the country in a more
thorough state of defense but also to exert all its power and employ all its resources to bring
the government of the German Empire to terms and end the war ...
“The world must be made safe for democracy. Its peace must be planted upon the tested
foundations of political liberty. We have no selfish ends to serve. We desire no conquest, no
dominion. We seek no indemnities for ourselves, no material compensation for the sacrifices
we shall freely make. We are but one of the champions of the rights of mankind. We shall be
satisfied when those rights have been made as secure as the faith and the freedom of nations
can make them ...
“It is a distressing and oppressive duty, gentlemen of the Congress, which I have performed
in thus addressing you. There are, it may be, many months of fiery trial and sacrifice ahead of
us. It is a fearful thing to lead this great peaceful people into war, into the most terrible and
disastrous of all wars, civilization itself seeming to be in the balance. But the right is more
precious than peace, and we shall fight for the things which we have always carried nearest
our hearts for democracy, for the right of those who submit to authority to have a voice in
their own governments, for the rights and liberties of small nations, for a universal dominion
of right by such a concert of free peoples as shall bring peace and safety to all nations and
make the world itself at last free. To such a task we can dedicate our lives and our fortunes,
everything that we are and everything that we have, with the pride of those who know that
the day has come when America is privileged to spend her blood and her might for the
principles that gave her birth and happiness and the peace which she has treasured. God
helping her, she can do no other.”
An incredible relic of the war to end all wars.
(#29324) $ 7,500
TRAVEL AND CARTOGRAPHY
29 ARCTIC, Photography.
Album of 85 photographs of natives and landscape at and in the vicinity of Fort Churchill on
Hudson Bay.
[Northern Manitoba, Canada: 1913-1916]. Oblong 8vo (5 3/4 x 7 3/4 inches). 85 photographs,
images 3x5 or 3x2 inches, mounted recto and verso on black sheets within the album with
photo corners. Captioned throughout on the mounts in white ink. Flexible string-tied leather
boards (worn). Housed in a cloth box. Provenance: R. S. White (first image in album).
An impressive album of vernacular Arctic photographs.
The compilor of this album, R. S. White - who is depicted in several of the images within --,
would appear to have been associated with the Fort Churchill police force, given the nature
of the images within. Included are portraits of numerous natives, including Chipeway and
Cree, as well as police esquimaux at work, police dog teams, police hunting parties, police
barracks, schooners and more.
Fort Churchill was built near the ruins of Prince of Wales Fort in northern Manitoba on
Hudson Bay at the mouth of the Churchill River. At the time of this album, the Hudson Bay
Railway was constructing a route between Winnipeg and the Fort, which would seem to have
engendered the police presence among the natives and workers alike.
(#29333) $ 9,500
30 AUSTRALIA, Norfolk Island.
Album of photographs of the scenery and people of Norfolk Island in the South Pacific Ocean.
Norfolk Island: circa 1900. Oblong small folio (13 1/2 x 10 1/2 inches). 42 carbon prints on
42 cream card album leaves, each mounted within ruled frame with printed caption below,
the photographs measuring approximately 6x8 inches. Contemporary red morocco, upper
cover titled in gilt within a gilt border, marbled endpapers, gilt edges. Provenance: Hon. B.R.
Wise, Attorney General (lettered in gilt on upper cover).
Early photographs of a remote Pacific Island.
Norfolk Island, a largely autocratic dependency of Australia, was first sighted by Captain
James Cook on his second voyage and settled by the First Fleet in 1788. For the first half
century of the 19th century, the island was largely used as a penal colony, with many of the
worst offenders transferred from Australia to the remote island. In the 1850s, after use of
the island as a penal colony was abandoned, the island was settled by the Pitcairn Island
descendents of the Bligh mutineers. In the 1860s, the Anglican church established a large
Melanesian mission on the island.
The present images, by an unknown but likely Australian photographer, comprise views of
Kingston, various lagoons and bays, landscape scenes featuring the island’s iconic pine tree
and other vegetation, images at the Melanesian Mission and group portraits of the island’s
inhabitants (presumably including Bligh mutineer descendents). The original owner of this
album was Bernhard Ringrose Wise (1858-1916), whose name appears on the upper cover;
Wise served as the Attorney General of Australia from 1899-1904.
(#29494) $ 12,000
31 BLIGH, William (1754-1817).
A Narrative of the Mutiny, on board His Majesty’s Ship Bounty; and the subsequent voyage of
part of the crew, in the ship’s boat, from Tofoa, one of the Friendly Islands, to Timor ... in the
East Indies.
London: for George Nicol, 1790. Quarto (12 1/4 x 9 7/8 inches). 3 engraved charts (2
folding) after William Harrison, engraved by J. Walker, 1 engraved plan of the Bounty’s 23foot launch. Uncut. (Light scattered foxing). Later half dark blue crushed morocco over blue
cloth boards, spine lettered in gilt. Provenance: William Cavendish-Bentinck, 6th Duke of
Portland (armorial bookplate).
First edition of Bligh’s account of the famous mutiny, and the incredible voyage which followed:
a tall uncut copy.
Although the mutiny is now the best known incident, the most remarkable part of the
narrative is undoubtedly Bligh’s account of the voyage in the Bounty’s launch. His achievement
of safely navigating an open vessel packed with 19 men a distance of 4,000 miles without
serious mishap is almost without parallel in the history of ocean travel. He not only piloted
the boat to safety but “In the course of this hazardous journey Bligh took the opportunity to
chart and name parts of the unknown north-east coast of New Holland as he passed along it”
(Wantrup, p.128). The resulting chart of the “NE Coast of New Holland” was first published
in the present work.
Du Reitz p.44; Ferguson 71; Hill 132; Kroepelian 87; Wantrup 61.
(#28656) $ 12,500
32
(BLIGH, William (1754-1817)).
An Account of the Mutinous Seizure of the
Bounty, With the Succeeding Hardships of the
Crew. To Which is added, Secret Anecdotes of
the Otaheitean Females.
London: Printed for Bentley and Co. And sold
by H. D. Symonds, [circa 1792]. 8vo 8 x 4 3/4
inches. [4],[9]-76pp. Engraved frontispiece.
Modern blue morocco backed cloth boards,
spine lettered in gilt. Provenance: Paul PeraltaRamos (small red inked ownership stamp on
endpaper).
First edition of this rare anonymous narrative.
One of two Bentley variants published
simultaneously, the other bearing an imprint
to be sold by Bell and Taylor and others.
According to Hill, Bentley based their
publication on a slightly earlier account by
publisher Robert Turner.
“Following Bligh’s return to England in March
of 1790, publisher Robert Turner recognized
that the public had an insatiable interest in the story of the mutiny. Turner believed that he
could capitalize on this interest by stealing the thunder from Bligh’s official account, then
in preparation. Culling information from newspaper reports, Hawkesworth’s Voyages, and
other recent works on Tahiti, Turner published the sensationalized version...An Account
on the Mutinous Seizure of the Bounty ...The [later] Bentley version differed in its larger
format, the inclusion of an engraving of Bligh in his nightshirt, and most importantly, as
Stephen Walters points out, probably the first published clue to Fletcher Christian’s postmutiny whereabouts: the publisher reports information from a voyager that Christian and
the mutineers had recently left Tahiti with promises to return, and concludes from this
information ‘that they have turned pirates’” (Hill). This edition is not in Hill, who only
owned a 1987 reprint edition.
“An anonymous narrative. The account of the Mutiny is based on Bligh’s book; the ‘Secret
Anecdotes of the Otaheitean Females’ are extracted from Hawkesworth” (Ferguson). This
latter account of Tahitian women is sometimes wanting, likely by a censor’s hand. To account
for the seeming mispagination at the beginning of the text, Ferguson notes that, “Apparently
an error occurred in numbering the pages.”
Ferguson 131; ESTC N29876; cf. Hill 1825; Howgego B107.
(#28660) $ 8,500
33 COOK, Capt. James (1728-1779) and James KING.
A Voyage to the Pacific Ocean, for making Discoveries in the Northern Hemisphere. Performed
under the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution
and Discovery; in the Years 1776, 1777, 1778, 1779, and 1780.
London: printed by W. and A. Strahan for G. Nicol and T. Cadell, 1784. 4 volumes (Text:
3 vols., quarto [11 1/8 x 8 7/8 inches]; Atlas vol. of plates: 1 vol., large folio [21 3/4 x 15 3/4
inches]). Text: 24 engraved maps, coastal profiles and charts (13 folding), 1 folding letterpress
table. Atlas of plates: 63 engraved plates, charts and maps (including 1 folding map and
1 double-page map). Extra-illustrated with 3 additional plates in the atlas [see list below].
(Minor foxing in atlas, minor tears to tissue guards). Text: Contemporary speckled calf, covers
bordered with a gilt roll tool, spine in six compartments with raised bands, black morocco
lettering pieces in the second and fifth compartments, the others with a repeat decoration in
gilt, rebacked with the original spine laid down, marbled endpapers. Atlas: expertly bound
to style in half speckled calf over marbled paper covered boards, spines with raised bands
in nine compartments, black morocco labels in the second and seventh compartments, the
others tooled in gilt uniform to the text. Provenance: Chandos Leigh, 1st Baron Leigh of
Stoneleigh (armorial bookplate in text).
An extraordinary copy of the first edition of Cook’s Third Voyage, extra-illustrated with Webber’s
Death of Cook plate and two rare portraits of Cook and King.
The extra illustrations comprise:
1) Portrait of Captain James Cook, after Dance, engraved by Sherwin, published 1 August
1784 [Beddie 3384]
2) Portrait of Captain James King, after Webber, engraved by Bartolozzi, published 4 June
1784 [Beddie 4510]
3) “The Death of Cook” after Webber, engraved by Bartolozzi and Byrne, published 1 July
1785 [Beddie 2603]
“Cook’s third voyage was organized to seek the Northwest Passage and to return [the islander]
Omai to Tahiti. Officers of the crew included William Bligh, James Burney, James Colnett,
and George Vancouver. John Webber was appointed artist to the expedition. After calling at
Kerguelen Island, Tasmania, New Zealand, and the Cook, Tonga, and Society Islands, the
expedition sailed north and discovered Christmas Island and the Hawaiian Islands, which
Cook named the Sandwich Islands. Cook charted the American west coast from Northern
California through the Bering Strait as far north as latitude 70 degrees 44 minutes before he
was stopped by pack ice. He returned to Hawaii for the winter and was killed in an unhappy
skirmish with the natives. Charles Clarke took command and after he died six months later,
the ships returned to England under John Gore. Despite hostilities with the United States and
France, the scientific nature of this expedition caused the various governments to exempt
these vessels from capture. The voyage resulted in what Cook judged his most valuable
discovery - the Hawaiian Islands” (Hill).
Beddie 1543; cf. Forbes Hawaiian National Bibliography 62; cf. Lada-Mocarski 37 (later issue); Sabin 16250.
(#26812) $ 26,000
34 COOK, Capt. James (1728-1779).
A Voyage towards the South Pole, and Round the World. Performed in His Majesty’s Ships
the Resolution and Adventure, In the years 1772, 1773, 1774, and 1775. In which is included
Captain Furneaux’s Narrative of his Proceedings in the Adventure during the Separation of the
Ships.
London: W. Strahan and T. Cadell, 1777. 2 volumes, quarto (11 x 9 inches). Engraved
portrait of Cook by J. Basire after Wm. Hodges, 63 engraved plates, maps and charts (15
folding, 16 double-page), 1 folding letterpress table. (A few plates trimmed close, as usual).
Contemporary calf, covers with decorative borders tooled in blind, expertly rebacked to style,
spine with raised bands in six compartments, red and black morocco labels in the second and
fourth, the others with a repeat decoration in gilt.
First edition of Cook’s second voyage on which he was directed to circumnavigate the globe as far
south as possible to search for any southern continent.
“Cook earned his place in history by opening up the Pacific to western civilization and by the
foundation of British Australia. The world was given for the first time an essentially complete
knowledge of the Pacific Ocean and Australia, and Cook proved once and for all that there
was no great southern continent, as had always been believed. He also suggested the existence
of Antarctic land in the southern ice ring, a fact which was not proved until the explorations
of the nineteenth century” (Printing and the Mind of Man p.135).
“The success of Cook’s first voyage led the Admiralty to send him on a second expedition,
described in the present work, which was to circumnavigate the globe as far south as possible
in search of any southern continents ... the men of this expedition became the first to cross
the Antarctic Circle. Further visits were made to New Zealand, and on two great sweeps
Cook made an astonishing series of discoveries and rediscoveries including Easter Island, the
Marquesas, Tahiti and the Society Islands, Niue, the Tonga Islands, the New Hebrides, New
Caledonia, Norfolk Island, and a number of smaller islands. Rounding Cape Horn, on the last
part of the voyage, Cook discovered and charted South Georgia, after which he called at Cape
Town, St. Helena and Ascension, and the Azores ... This voyage produced a vast amount of
information concerning the Pacific peoples and islands, proved the value of the chronometer
as an aid to finding longitude, and improved techniques for preventing scurvy” (Hill p.123)
“This, the official account of the second voyage, was written by Cook himself ... In a letter,
dated June 22nd, 1776, to his friend Commodore William Wilson, Cook writes: - ‘The
Journal of my late Voyage will be published in the course of the next winter, and I am to have
the sole advantage of the sale. It will want those flourishes which Dr. Hawkesworth gave the
other, but it will be illustrated and ornamented with about sixty copper plates, which, I am
of the opinion, will exceed every thing that has been done in a work of this kind; ... As to the
Journal, it must speak for itself. I can only say that it is my own narrative ...’” (Holmes pp.3536).
Beddie 1216; Hill (2004) 358; Holmes 24; Printing and the Mind of Man 223; Rosove 77.A1.
(#25578) $ 7,500
35 FORSTER, Johann Reinhold (1729-1798).
History of the Voyages and Discoveries Made in the North.
London: G. G. J. and J. Robinson, 1786. 4to (10 7/8 x 8 1/4 inches). Half-title. 3 engraved
folding maps by T. Bowen after Forster. (Without the publisher’s advertisement leaf).
Contemporary calf, rebacked to style, red morocco lettering piece.
First English edition of a cornerstone work on Arctic exploration and the search for the northwest
and northeast passages.
Johann Reinhold Forster (1729-1798), Prussian-born author and naturalist, moved to England
in 1766, served as a scientist on Captain Cook’s second voyage. First published in German
in Frankfurt in 1784, the present edition is the first English, published simultaneously with
an edition in Dublin. This work is a valuable account of the numerous expeditions for the
discovery of the North West and North East Passages, beginning with the voyages of Cabot
in 1497. Although principally focussed on the English voyages to Hudson Bay, there are
also separate sections dealing with Dutch, French, Spanish, Portuguese, Danish and Russian
expeditions in search of the passages.
This example complete with all three maps, comprising a polar projection, a map of Europe
and a large folding chart of Asia.
“Chronicle of northern hemispheric exploration from antiquity to the middle of the 18th
century, which includes ... chapters on the voyages of principal seafaring countries, beginning
in the 15th century” (Arctic Bibliography).
Arctic Bibliography 5161; Howes F269; Sabin 25138; Forbes 112; Holmes 59; Staton & Tremaine/TPL 528.
(#29703) $ 2,000
36 FORTUNE, Robert (1812-1880).
Two Visits to the Tea Countries of China and
the British Tea Plantations in the Himalaya ...
Third Edition.
London: John Murray, 1853. 2 volumes, 8vo
(7 3/4 x 4 3/4 inches). Pictorial additional
titles printed in red and black, folding
map (partially hand coloured), 6 woodengraved plates and several wood-engraved
illustrations within the text. Contemporary
patterned cloth, bound by Remnant &
Edmonds, upper covers with a central block
in gilt, spines pictorial gilt.
A noted mid-19th century work on China and
the development of the cultivation of tea: this
set in a lovely decorative binding.
Robert Fortune (1812-1880) was a Scottish
botanist who first visited China in 1842,
as a collector for the Royal Horticultural Society. “Fortune’s instructions were to gather
information on Chinese gardening, as well as to collect new plants and seed ... [On his return
to London after an adventurous three years including a shipwreck, a secret visit to forbidden
city of Soochow, attacks by pirates, etc], he brought with him many rare and beautiful species
now familiar in domestic gardens, as well as introducing the art of bonsai to Europeans”
(Howgego).
In 1848, he returned to China on behalf of the East India Company to collect plants and
seeds of the tea-shrub. “He successfully collected tea plants from the Hwuy-Chow district
and the Chekiang province, and gathered specimens from the Ningpo district, Chusan, and
the Woo-e Mountains. He then supervised the transfer of 23,892 young plants and around
17,000 seedlings, along with eight Chinese tea growers and their equipment, to the foothills
of the Himalayas” (Howgego). His work provides excellent descriptions of Hong Kong
and China, of Chinese customs, industry, language and flora, missionary activity, opium
consumption, and the cultivation and processing of tea.
“My adventures amongst the most remarkable and least-known people in the world,
their manners and customs, the natural productions of the country in so far as they are
of importance to man, and, above all, the mode of cultivating and making our favourite
beverage, tea, have all been left as originally written in the country itself ” (Preface).
Howgego F-15.
(#29439) $ 1,000
37 FRANCKE, August Hermann (1870-1930).
Antiquities of Indian Tibet.
Calcutta: Superintendent Government Printing, 1914-1926. 2 parts in 2 volumes, 4to (11
3/4 x 9 inches). Folding map, 45 photographic plates; 5 folding maps. Contemporary dark red
morocco backed cloth covered boards, upper covers lettered in gilt.
The first exploration into Indian Tibet.
Dr. August Hermann Francke was a missionary of the Moravian Church and a distinguished
scholar of Tibetan studies. On his return to Germany, he was appointed Professor of Tibetan
languages at the University of Berlin. In 1909, the Director-General of the Archaeological
Survey of India, Dr J. H. Marshall (later Sir John), had asked Francke, then attached to
the Moravian mission in the Ladakh and Lahul area, to enter the service of the Survey for
an eighteen-month period and carry out the first scientific exploration into Indian Tibet.
Francke’s knowledge of both the history and the art of the region made him the ideal
expedition leader.The photographer, Babu Pindi Lal of the Archaeological Survey of India
was given the adventurous and difficult task of accompanying Dr. Francke on his mission.
Published as volumes 38 and 50 of the Archaeological Survey of India (New Imperial Series),
the two parts were issued twelve years apart, and therefore, are rarely found as a set.
Yakushi (1994) F179
(#29499) $ 5,950
38 HARRIS, John (1667?-1719, compilor).
Navigantium atque Itinerantium Bibliotheca. Or, a complete collection of voyages and travels.
Consisting of above six hundred of the most authentic writers ... Now carefully revised, with
large additions, and continued down to the present time.
London: printed for T. Woodward, A. Ward, S. Birt [inter alia], 1744-1748. 2 volumes, folio.
[12],xvi,[4],984; [10],1056,[22, Index and List of Plates]pp. Titles printed in red and black, 61
engraved maps, plans and plates (15 folding). 20th-century polished calf, gilt, leather labels.
The second and best edition of Harris’s important compilation, edited by John Campbell, with
Emmanuel Bowen’s important map of Georgia and the first English map of Australia.
“This is the revised and enlarged version of the 1705 first edition ...[This] edition, especially
prized for its maps, has been called the most complete by several authorities. Particularly
valuable is the inclusion of Tasman’s original map and two short articles printed on the map
... To the original extensive collection [including Magellan, Drake, Cavendish, Schouten,
Hawkins, Narbrough and Dampier] are added accounts completed since the first publication:
Christopher Middleton to Hudson’s Bay, 1741-42; Bering to the Northeast, 1725-6; Woodes
Roger’s circumnavigation, 1708-11; Clipperton and Shevlocke’s circumnavigation, 1719-22;
Roggeveen to the Pacific, 1721-33; and the various travels of Lord Anson, 1740-44” (Hill).
Two of the maps are particularly interesting. The first “A Complete Map of the Southern
Continent” (facing p.325 in vol.I) is the first English map of Australia. The second, titled “A
New Map of Georgia, with Part of Carolina, Florida and Louisiana..” (facing p.323 in vol.
II) covers from Charles Town to the Mississippi River and extends into Florida to Cape
Canaveral. It was included as an accompaniment to a new chapter “The History of the Rise,
Progress, and Present State of the Colony of Georgia” included for the first time in this edition.
Besides being a spectacular image, much useful information is also included, particularly
the coastal settlements, Indian villages and French and English forts. A distinction is made
between tribes that are friendly and hostile to the English. The trading paths and main
roads are marked, many shown here for the first time. The modern relevance and historical
importance of this map was demonstrated when it was used in a 1981 Supreme Court case
over the location of the boundary between Georgia and South Carolina at the mouth of the
Savannah River.
Arnot 23; Clancy 6.25; Cox I,p.10; cf. Cummings 267 (the Georgia map); Davidson pp.37-38; Hill (2004) 775;
Perry p.60 & pl.29; Sabin 30483; Schilder map 87; Lada-Mocarski 3; European Americana 744/116.
(#28611) $ 14,500
39 HEINE, Wilhelm (1827-1885).
Graphic Scenes of the Japan Expedition.
New York: GP Putnam & Company, 1856. Folio (20 1/4 x 14 1/2 inches). 12 ff. letterpress
text. 10 lithographic prints (one tinted portrait of Perry from a daguerreotype by P. Haas,
nine views by Heine [two of these chromolithographed, seven printed in two colours on
india paper mounted]), all printed by Sarony & Co. 20th-century maroon half morocco over
paper-covered boards, titled in gilt on spine, original wrappers bound in.
An important work recording Commodore Perry’s expedition to Japan.
William Heine was the official artist on Commodore Matthew C. Perry’s expedition to
Japan in 1853-54. On returning to the United States he produced several series of prints
commemorating the trip. A group of six elephant-folio prints appeared in 1855, and the
following year the present volume was issued, in a smaller format, with different images and
with explanatory text. Both projects employed the New York lithographic firm of Sarony,
among the best lithographers in the United States at that time. “As artistic productions, the
pictures speak for themselves ... none superior to them have been executed in the United
States, and they have no cause to shun comparison with some of the best productions of
Europe” (Introduction). Copies were produced tinted on regular paper as in the present copy
and hand-coloured.
The plates are numbered and titled as follows [1. portrait of Perry]; 2. Macao from Penha
Hill; 3. Whampoa Pagoda; 4. Old China Street, Canton; 5. Kung-kwa at On-na, Lew-Chew;
6. Mia or road side chapel at Yokuhama; 7. Temple of Ben-teng in the harbor of Simoda; 8.
Street and bridge at Simoda; 9. Temple of the Ha-tshu Man-ya-tshu-ro at Simoda; 10. Grave
yard at Simoda Dio Zenge.
Bennett describes the plates as “many times finer than those in the regular account of the
Perry expedition.” His remarks on the work’s great rarity are confirmed by its absence from
both of Cordier’s Japanese bibliographies.
Bennett, p.53; McGrath American Color Plate Books 123.
(#20647) $ 34,000
40 LUYNES, Honoré T. P. Joseph d’Albert; Duc de (1802-1867) - Charles NÈGRE (1820-1880,
photographer).
Voyage d’Exploration a la Mer Morte a Petra et sur la River Gauche du Jourdain.
Paris: Arthus Bertrand, imprimerie de E. Martinet, [1868-74]. Atlas only, large 4to (14
1/4 x 10 3/4 inches). Half-title. 2 folding coloured maps, engraved plate of the expedition’s
vessel, 64 photogravure plates by Charles Nègre after Louis Vignes (illustrating the Luynes
expedition and numbered 1-64, 1 double-page); 4 maps or plans (one double-page), 14 tinted
lithographed plates by Ciceri after photographs by Vignes and Sauvaire (illustrating the Mauss
expedition, with the maps numbered 1-18); 14 plates from the text volumes (8 lithographed
plates of shells, 2 engraved plates of elevations, 4 chromolithographed geological maps).
Expertly bound to style in half dark purple morocco over period purple cloth covered boards.
An incunable of photomechanically-illustrated books and among the earliest published
photographs of Jordan and the Dead Sea basin.
The Duc de Luynes inherited enormous wealth and spent his life on scientific, archaeological
and artistic pursuits. Among those was this 1864 private expedition to the Dead Sea basin
and interior of Jordan to examine the region’s ancient ruins and perform geological and
scientific observations. Luynes was accompanied on the expedition by Lieutenant Louis
Vignes, who served as the expedition’s photographer, as well as noted geologist Louis Lartet.
Arriving to the region in the early spring of 1864, the party travelled by way of Galilee and
Samaria to Jerusalem, from whence they embarked on a month-long boat excursion on the
Dead Sea, before ascending the right bank, travelling toward Lake Tiberias, before returning
to Jerusalem via the Ammon and Moab mountains. From Jerusalem, the party returned
back to the Dead Sea, turning south as far as Akabah and returning northward via Petra. In a
second expedition, commanded by Vignes between September and October of that year, the
party travelled from Tripoli, across the Golan to the sources of the Jordan River, travelling as
far inland as Palmyra, before returning by way of Hamah to the coast.
Nearly a decade prior to this expedition, in 1856, Luynes had sponsored a contest with
the Societe Française de Photographie to discover the best and most practical system of
photomechanically reproducing photographs. This seminal event is credited with launching
the development of the photobook. Among the participants in the contest was Charles
Nègre. Although Nègre did not win the 7000 franc prize, Luynes selected him in 1865 to
reproduce Vignes’s photographs in this official account of the expedition, paying him 23,250
francs for the commission.
Albumen prints made from the original negatives show the original photographs by Vignes,
taken no doubt in harsh conditions, were over-exposed. “It is remarkable how Nègre was
able to open up the shadows and fill them with light, detail and space [not evident in the
original negatives]. But undoubtedly the main reason the Duke chose Nègre to perform this
task lay in the quality of the prints Nègre was capable of producing ... for he had achieved a
control over his process which resulted in prints of rich tones, fine detail, transparency and
effect” (Borcoman).
Luynes died before the work would be published, leaving the task to his son and Le Comte
de Vogëé. The volumes of text (not present here) were published over several years, the
first volume containing Luyne’s account, the second volume comprised of Vignes’s memoir
(coupled with an account of a separate expedition by Mauss to Karak also sponsored by
Luynes), with the final volume of geological observations not appearing until 1874. While
the archaeological and scientific observations within the text were groundbreaking at the
time, the work is today best appreciated for its stunning atlas of photogravure plates.
“To the small but vitally important field of nineteenth-century photomechanical process,
Nègre brought not only technical expertise but also the eye of a master photographer. The
book ... remains one of the finest photomechanically printed books of the era” (Parr and
Badger).
Rohricht 2824; Truthful Lens 109; Parr & Badger I:p.33; James Borcoman, Charles Nègre 1820-1880 (Ottawa:
National Gallery of Canada, 1976) pp. 45-46; Foster et al., Imagining Paradise, p.105; Jamme, Art of French
Calotype, p. 222.
(#26937) $ 17,000
41 MAGUIRE, Thomas Herbert (1821-1895).
Captain James Ross.
[Ipswich: George Ransome, c. 1851. Tinted
lithograph in octagonal format, signature as
title: “James Ross, Captain”. Artist’s printed
signature in image: “T. H. Maguire 1851”.
Image size (including text): 13 1/4 x 9 1/2
inches. Sheet size: 23 1/2 x 17 1/4 inches.
Rare Portrait of the great Polar explorer
Sir James Clark Ross ((1800 - 1862) entered
the British Navy at the age of 11 in the care of
his uncle, Sir John Ross. In 1818, he travelled
with Ross in search of a northwest passage.
During the years 1819-27, he made four
Arctic expeditions with Parry, and after 4
1/2 years as commander of his own Arctic
expedition, he located the magnetic North
Pole in Boothia Peninsula, Canada.
He is best known however for his expedition to Antarctica, 1839-43. He commanded the
Erebus and his close friend, Francis Crozier, the Terror. Joseph Dalton Hooker was the
naturalist on this journey. Exploring, then retiring north to Tasmania or the Falklands for the
“winter months”, the expedition was a great success revealing a great deal about the unknown
continent. Ross’ “A Voyage of Discovery and Research in the Southern and Antarctic Regions:
During the Years 1839-43” is a classic of Polar Exploration literature.
In 1848, he commanded one of the ships sent to search for Sir John Franklin’s 1845 Arctic
exploration. The Franklin expedition consisted of the Erebus and the Terror, the latter again
being commanded by Crozier.
Thomas Herbert Maguire (1821-1895) was a British artist, who studied lithography with
Richard James Lane. He is best known for the portraits of scientists, primarily naturalists, for
which he was commissioned by George Ransome, F. L. S. in connection with the founding of
the Ipswich Museum. Ransome gave the portraits as gifts to subscribing members and gave
the entire portfolio, which ultimately ran to 60 portraits, to especially important figures, most
notably Prince Albert when he visited the museum in 1851.
Maguire brought to portrait making an unusual capacity to capture a person’s type and
character. His portraits did not try glorify their subject but rather showed their individuality.
The subject’s renown depended on their accomplishments, which would have been wellknown to the observers.
(#29069) $ 2,500
42 MERCATOR, Gerard (1512-1594); and Jodocus HONDIUS (1563-1611).
Atlas sive Cosmographicae Meditationes de Fabrica mundi et fabricati figura. De novo multis in
locis emendatus novisque tabulis auctus Studio Judoci Hondii.
Amsterdam: Johannis Cloppenburgh, 1632. Oblong quarto (8 1/4 x 10 3/4 inches). Engraved
title, 179 engraved maps. Contemporary vellum, endpapers renewed at an early date.
Scarce Latin issue of the larger format Cloppenburgh edition of Mercator’s Atlas Minor.
Jodocus Hondius published the first edition of the Atlas Minor in 1607, introducing small
format atlases so that “a larger public might have access to the use of maps” (Koeman). The
Hondius plates went through several editions and were eventually sold in 1621 to a London
publisher. In 1628 Jansson published a series of new editions of the Atlas Minor, some having
the copperplates re-engraved by Pieter van der Keere and Abraham Goos. At about the same
time, Cloppenburgh, in Amsterdam, published a French edition (1630) and the present Latin
edition, both in a slightly larger format with many of the copperplates engraved by Pieter van
der Keere.
Koeman II, Me 200 (listing 178 maps); Phillips, Atlases I,443; Sabin 47882.
(#28009) $ 27,500
43 (PAKISTAN, Jowaki Expedition) - Lt. Oswald C. RADFORD, 3rd Sikh Infantry.
Jowaki [manuscript title of an album of watercolours and pen-and-ink sketches by Radford
recording the Jowaki Expedition in Kohat Pass].
[Kohat Pass, Pakistan: November 1877 - January 1878]. Oblong quarto (9 3/4 x 12 inches).
Watercolour title accomplished directly on the recto of the first album leaf, 28 watercolours
(mostly on sheets of drawing paper mounted into the album, though others drawn directly on
the album leaves), 7 mounted pen-and-ink sketches on thin paper (including rough studies for
some of the watercolours), 5 watercolour vignettes incorporating various date headings, all of
the above recto and verso on 23 album card leaves. Manuscript descriptions and captions by
Radford throughout, as well as related mounted newspaper clippings. Contemporary green
cloth album, covers decoratively blocked in gilt, blind and black (worn). Provenance: Mian
Hayaud-Din (inscription on pastedown).
A unique album of drawings depicting the Jowaki Expedition in the Kohat Pass preceding the
Second Afghan War, recorded by an eyewitness Lt. Oswald Radford of the 3rd Sikh Infantry: a
pictorial relic of The Great Game.
In the early 1870s, the British colonial government in India paid the Jowaki Afridi a tribute
payment to guard the Kohat Pass. The Jowaki Afridi were the most powerful Pathan tribe
in the mountainous borderland northwest frontier province between present-day Pakistan
and Peshawar. In 1875, a road was proposed to run through the pass, which was objected to
by the local tribes. To further complicate the situation, the amount of the tribute payment
was reduced in 1877, igniting conflict. The Jowaki cut the British telegraph lines and raided
across the border. A force of 1500 troops of the Punjab Frontier Force were dispatched under
Colonel Frederic David Mocatta in retaliation, joined shortly thereafter by a larger force
under Brigadier General Charles Patton Keyes.
The present album was created by Lt. Oswald Radford, an officer in the 3rd Sikh Infantry
who served on the expedition. Leaving Kohat on 9 November, Radford’s column advanced
to the Paiya Valley, meeting little resistance. After serveral skirmishes, the force moved to
the Shindai Valley, pushing back a Jowaki force assembled there. By the first of December,
the British force had taken the Jowaki stronghold of Jummu and chased their enemy though
the Naru Khula gorge before returning to Jummu in January of 1878. At the end of January
1878, fifty head men of the Jowaki tribe met with the British commanders in the Paiah Valley
(several depicted in the final watercolour in this album), though the British conditions for
peace were refused. Although the British force was able to push back the Jowaki and inflicted
considerable damage on their villages and crops, the Jowaki were not resoundingly defeated
and continued guerrilla assaults, though the building of the disputed road continued.
Radford’s watercolours show both the rugged mountainous landscape and its beautiful valleys,
interspersed with images of camp life and portraits of the combatants. Within the album is a
manuscript account of the expedition, as well as period newspaper accounts which augment
the contextualizing of the images. Many of the pen-and-ink sketches are preliminary to the
watercolours, and were no doubt done on the spot, with the more accomplished mounted
watercolours drawn in camp. The watercolours comprise (titled as per Radford’s captions,
supplied titles in brackets):
1) Jowaki [album title spelled out using swords and guns against a trench, with two soldiers
in the foreground and a mountain range in the background]. 9 3/4 x 11 3/4 inches.
2) Gandiali Ravine. 8 3/4 x 11 3/8 inches. Mounted.
3-4) Halt at the Summit of the Tortang Pass, Turki Valley / Shindai Valley [two views, each
mounted to same album leaf]. Each 3 3/8 x 9 3/4 inches. Mounted.
5-6) Paiah Valley / Amateur Reaping [two views on one album leaf]. Each approximately 4
x 10 inches.
7-9) [3 small watercolours, each mounted to the same album leaf, two depicting Khattak
horseman and one standing]. 3 1/2 x 5 3/8 inches to 9 1/2 x 5 inches. Mounted.
10-11) Kohat Valley / Turki Valley [two views on one album leaf]. Each approximately 4 1/4
x 11 1/4 inches. The first mounted.
12-16) [5 small watercolours, each mounted to the same album leaf, depicting camp life and
Jowakis, including two watercolours recto and verso of same sheet]. Approximately 5 1/2 x 3
1/2 inches (or the reverse). Mounted.
17) Khattak Dance, Turki. 8 1/4 x 11 1/4 inches
18) The Last Ridge [approaching Jammu]. 6 1/2 x 10 inches. Mounted.
19) Shai Khel, Jammu. 6 1/2 x 10 inches. Mounted.
20) Paiah Valley. 8 1/4 x 11 1/4 inches. Mounted.
21) [Unidentfied mountain range, panorama on two sheets across two album pages]. 3 x 17
inches. Mounted.
22) [Unidentified valley with fire burning]. Approximately 8 x 10 inches.
23) Entrance to Naru Khula. Approximately 8 x 10 inches.
24) Gorge looking back. 10 3/4 x 8 inches. Mounted.
25) Gorge in middle of Naru Khula. 10 1/2 x 9 1/2 inches.
26) Commencement of Retirement from Jummoo Valley. 10 1/2 x 9 3/4 inches.
27) 3rd Sikh Mess, Turki. 7 3/4 x 11 inches. Mounted.
28) [Portrait of Akbar Khan of Hangu]. 8 x 5 1/2 inches. Mounted.
29) [Group portrait of Akbar Khan, Malik Jan and Mahomed Khan]. 9 5/8 x 8 inches.
Mounted.
The album is from the collection of Mian Hayaud-Din, a general staff officer for the British
who served with highest distinction in India and Burma before and after World War II. The
album was acquired by him prior to 1940. A unique pictorial record of a British colonial
military conflict in among the most rugged regions encompassed by The Great Game.
Cf. James Grant, Recent British Battles on Land and Sea (London, 1884), pp. 9-10, quoting Radford’s account
of the expedition.
(#26989) $ 25,000
44 PARKINSON, Sydney (1745?-1771).
A Journal of a Voyage to the South Seas, in His Majesty’s Ship the Endeavour.
London: Printed for Stanfield Parkinson, 1773. Quarto (12 5/8 x 10 5/8 inches). xxiii,212,[2]
pp. Engraved portrait frontispiece of Parkinson by James Newton, 26 engraved plates (1 plate
after Alexander Buchan, 2 plates after S.H. Grimm and 24 after Parkinson). Contemporary
marbled boards with vellum corners, rebacked in calf, retaining original red morocco
lettering piece.
Large-paper copy of Parkinson’s important illustrated account of Cook’s first voyage.
“Parkinson was engaged by Sir Joseph Banks to accompany him and Captain Cook in the
Endeavour to the South Seas, as natural history draughtsman ... After exploring Tahiti, New
Zealand, Australia, and the Great Barrier Reef, the expedition reached Batavia. On leaving
for the Cape of Good Hope, Parkinson succumbed to fever and dysentery and was buried
at sea. Banks spoke highly of his ‘unbounded industry’ in making for him a much larger
collection of drawings than he had anticipated. His observations, too, were valuable, and the
vocabularies of South Sea languages given in his journals are of great interest. Upon Banks’
return to England, Stanfield Parkinson, Sydney’s brother, claimed all the drawings made by
his brother in his spare hours, as well as journals and collections, under a will made before
Sydney Parkinson left England. Following the dispute, his writings were lent to Stanfield
Parkinson, who transcribed them and prepared them for publication, but an injunction was
obtained ... to restrain him from publishing until after the appearance of ... Hawkesworth’s
official account” (Hill).
Parkinson’s drawings stand as one of the chief visual sources for the voyage: he produced
a large number of magnificent botanical, natural history and ethnographical drawings of
Tierra del Fuego, Tahiti, New Zealand, and Australia. At the time, these drawings offered
Europe its first view of life in the South Pacific. The work contains extensive descriptions of
Australia and New Zealand, and is the first work to properly identify the kangaroo by name.
A major journal for Cook’s first voyage.
Beddie 712; Hill 1308; Holmes 7; Sabin 58787; Davidson, A Book Collector’s Notes, pp. 54-6; NMM I:564;
O’Reilly & Reitman 371; Kroepelien 944; Cox I, p.58
(#28619) $ 12,000
45 RHODE, Johann Christoph (1713-1786).
Partes confines Trium Magnorum Imperiorum Austriaci Russici et Osmanici.
[Berlin: Royal Prussian Academy of Sciences], 1785. Engraved case map, full period hand
colouring, dissected and linen-backed as issued. Housed in period green morocco backed
case, with armorial bookplate of the Borghese family. Sheet size: 38x54 inches.
Highly-detailed 18th century large-scale map of the Black Sea region: fine example from the
celebrated library of the Borghese family.
Centered on the Black Sea, this map depicts the region from the Ionian Sea in the west, to as
far eastward as the western edge of the Caspian Sea, as far south as Cyprus and as far north
as just above Tsaritsyn (i.e. Volgograd), taking in much of southeastern Europe (Romania,
Bulgaria, Hungary, Greece, etc.), all of Turkey, Georgia and parts of Ukraine and Russia.
Rhode served as geographer of the Royal Russian Academy of Sciences from 1752 until his
death. The present map was accomplished in the midst of the Austro-Turkish and RussoTurkish wars, between the Austrian and Ottoman Empires.
On the slip case is the engraved bookplate of the library of the Borghese Princes, with their
coat of arms: “Ex libris M. A. Principis Burhesii.” Camillo Filippo Ludovico (1775-1832),
Prince Borghese and son of Marco-Antonio III (1730-1800), married Napoleon’s sister,
Pauline, in 1803.
(#29908) $ 4,500
46 SOUTH AMERICA.
[A series of six watercolour views in Brazil and Chile, presumably accomplished by an English
naval officer, including two views of Rio de Janeiro, two views of Valparaiso and two unidentified
views of the South American coast].
[South America: circa 1820]. Pen-and-ink and gray wash, with white gouache highlights,
on wove paper watermarked Hatman W. Balston & Co, sheets measuring approximately 12
1/2 x 18 1/8 inches each. Uniformly matted and housed in a dark blue morocco backed box.
A group of lovely early South American views by a talented artist well-versed in the art of
perspective, with two from aboard ship suggesting the artist to be an English naval officer.
1) [A View of Rio from Ilha des Cobras]. View from a sea-side path, one well-dressed male
figure and a palm tree in the foreground, buildings along the right side, and across the bay 9
large ships at anchor, with the city beyond dominated with a central large church. Image size:
10 7/8 x 17 inches; sheet size: 12 1/2 x 18 inches.
2). [A View of Rio from the terrace of the church Nossa Senhora da Gloria]. View across the
bay from the large terrace of the church, with the arched entrance to the church at the left,
seven male figures standing or sitting on the terrace, across the bay a fort, church and city
buildings, as well as the aqueduct. Image size: 11 7/8 x 17 5/16 inches; sheet size: 12 1/2 x 17
7/8 inches.
3) [View a hilly shore line from the sea]. At the far right two small ships are visible. Image
size: 5 13/16 x 17 inches; sheet size: 12 3/16 x 18 inches.
4) [View a hilly shore line from the sea]. Two ships are centrally placed sailing toward a cove
with buildings. Image size: 6 7/8 x 18 1/8 inches; sheet size: 12 1/8 x 18 1/8 inches.
5) [View of Valapariso, Chile]. View of the town and harbour from a hill-top above the beach,
buildings in the foreground, numerous large and small boats at anchor in the bay, buildings
almost up to the waters-edge, a fort on a hilltop overlooking the bay, hills behind, a wooden
flag signaling tripod on one. Image size: 11 3/4 x 17 1/2 inches; sheet size: 12 1/4 x 18 inches.
6) [View of Valapariso, Chile]. View of the town and harbour from a hill-top above the beach,
looking across the bay from the opposite side of the above, buildings in the foreground,
numerous large and small boats at anchor in the bay, buildings almost up to the watersedge, a fort on a hilltop overlooking the bay, numerous people, horses and carts, amongst the
buildings below. Image area: 12 x 17 1/8 inches; sheet size: 12 5/8 x 18 inches.
(#24014) $ 19,500
47 STAUNTON, Sir George Leonard (1737-1801).
An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China ...
Taken chiefly 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 after 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, flat 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 Thomas Courtenay Warner, 1st Baronet
(armorial bookplate in text).
First edition of the official published account of the first 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. The embassy, the first
such to China, had two objectives: the first 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. The first 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. Stafleu & Cowan
12.835.
(#27884) $ 27,500
48 STRABO (64/63 B.C.-ca 25 A.D.).
Strabonis Rerum Geographicarum Libri XVII. Isaacus Casaubonus Recensuit, Summóque
Studio & Diligentia, Ope Etiam Veterum Codicum, Emendauit, Ac Acmmentariis Illustrauit.
Geneva: Eustathius Vignon, 1587. (13 3/4 x 8 5/8 inches). Two parts in one.
[8],602,[2],[8],223pp., printed in Greek and Latin in double-columns, plus double-page
engraved map by Mercator: “Orbis Terrae Compendiosa Descriptio.” Geneva, 1587 (13 x
21 inches). Titles on titlepage and section-page for second part within historiated woodcut
border. Seventeenth-century green vellum over paste-boards, boards gilt with floral roll
within two triple-fillets of plain vellum and central oval gilt coat-of-arms of “Ferdinand
Hoffman Freyher Herr auf Grevenstein,” spine gilt with floral rolls within triple-fillets of plain
vellum, title inscribed by hand in plain vellum of top compartment with later number “26”
written over title, lacking silk ties, edges sprinkled with red bands. Large (10 x 6 1/2 inch)
engraved allegorical bookplate of Ferdinand Hofmann, Freiherr von Grevenstein, designed
by M. Göndelach and engraved by L. Kilian.
An excellent example of this essential work with a highly important Mercator world map.
The first edition of Strabo’s Geographia edited by Isaac Casaubon, with the excessively
rare double-hemispherical world map by Rumold Mercator based on his father Gerald’s
renowned 1569 world map. One of the earliest and most important scientific treatises on
historical geography, and Strabo’s only surviving work, the Geographia represents an initial
attempt to compile geographical knowledge in a unified manner. The work provides a survey
of the topographical, historical, and political characteristics of the principal regions of the
Roman world, also including information concerning philosophy, political theory, geology,
mathematics, science, and history. Causabon’s famous edition is based on four manuscripts
which were in the library of his father-in-law Henri Estienne, the esteemed Geneva printer
and humanist.
The first appearance of Mercator’s only obtainable world map, the two-page doublehemispherical world map is handsomely decorated with elaborate strap-work borders, an
armillary sphere, and a compass rose. “Gerald Mercator’s great world map of 1569 was
condensed into double-hemispherical form by his son Rumold ... Later Rumold’s map was
incorporated into editions of Mercator’s long-lived and influential Atlas from 1595 onwards
... The engraving is a model of clarity and neatness, with typical cursive flourishes to the
lettering of the sea names” (Shirley).
An important 16th-century edition of Strabo with the first appearance of Mercator’s only
obtainable world map, bound in a remarkable 17th-century green vellum binding with
elaborate gilt decoration.
Strabo: Adams S-1908. Mercator: Shirley 157; Wagner, Northwest Coast 146; Koeman Me12.
(#19439) $ 42,500
49 SUTHERLAND, Peter Cormack (1822-1900).
Journal of a Voyage In Baffin’s Bay And Barrow Straits, In The Years 1850-1851 Performed by
H.M. Ships “Lady Franklin” and “Sophia,” under the Command of Mr. William Penny, in Search
of the Missing Crews of H.M. Ships Erebus and Terror.
London: Longman, Brown, Green, and Longmans, 1852. 2 volumes, 8vo (7 1/2 x 4 3/4 inches).
[iii]-lii,506; vii,363,ccxxxiii pp. Two color lithographed frontispieces, five lithographed plates
(two tinted in color), two folding maps. Publisher’s red blind-stamped cloth, neatly rebacked
preserving the original spines, endpapers renewed.
An important and scarce Franklin search narrative.
An important and scarce Arctic expedition under the command of Capt. William Penny.
The H.M.S. Lady Franklin and Sophia set out on an expedition in search of Sir John Franklin
through Baffin’s Bay and Barrow Strait, thence north into Wellington Channel where search
parties went out and observations were made to obtain further geological and natural history
information in the Arctic. The appendix contains detailed reports of the travelling parties that
were sent out in search of signs of the Erebus and Terror, including to the unexplored regions
beyond Wellington Channel. Also in the appendix are Admiralty papers, meteorological
data, a register of the tides, and illustrations of natural history and geological specimens.
The handsome plates depict life in the Arctic, including “Winter Quarters, Assistance Bay,”
“Arctic Travelling,” and natural history illustrations. The folding maps include “A Chart of
the Arctic Regions...” and “A Polar Chart...of Capt. Penny’s Expedition.” Not in Lande or
Lande supplement.
Arctic Bib. 17231; National Maritime Museum I 905 (both incorrectly calling for 7 plates); Sabin 93693; TPL
3214 (incorrectly calling for more than 2 folding maps).
(#28655) $ 2,000
50 WALKER, J. and C.
To Her Most Gracious Majesty Queen Victoria, This Map of the World on Mercator’s Projection
is most respectfully dedicated ... .
London: Published by J. and C. Walker ... and William Colling Hobson, 1840. Large engraved
case map, full period hand coloring, dissected and linen-backed as issued. The map with
insets of both poles and surrounded by descriptive panels of text. With early manuscript
additions in the Arctic. Housed in the original green cloth case. Sheet size: 63 x 55 inches.
Stunning large format case map of the World, featuring Texas as a Republic: with beautiful
period hand coloring.
The surrounding panels of text provide an extraordinary amount of information on the
countries of the world: population, size of countries, chief productions, important towns and
cities, values of imports and exports, national debt, number of naval vessels and distances
surround the map of the world.
The map itself is highly detailed for a world map, and includes the very latest of the
geographic discoveries of its time, particularly along the northwest coast of America and in
the Arctic. Indeed, an early owner has furthered this with manuscript ink additions, charting
discoveries made by Robert McClure on his first navigation of the northwest passage in
1850-54. Perhaps the most interesting mapping, however, is the bold depiction of Texas as
a Republic, here distinctly colored in purple and with a separate entry in the text surround
listing its population as 38,000.
A wonderful example of a rare and desirable case map of the world.
Rumsey 3820
(#29839) $ 6,500
51 WEDDELL, James (1787-1834).
A Voyage towards the South Pole, performed in the years 1822-24. Containing an examination
of the Antarctic Sea, to the seventy-fourth degree of latitude...
London: Longman, Hurst, Rees, Orme, Brown, and Green,, 1825. Octavo (8 7/8 x 5 1/4
inches). Uncut, small format errata slip after dedication, publisher’s advertisements at end
dated Christmas 1825. Hand-coloured aquatint frontispiece, 4 uncoloured aquatint plates, 8
engraved maps (6 folding), 2 folding aquatint plates of coastal profiles printed in blue. Period
blue paper boards, expertly rebacked to style with muslin, paper label.
First edition of “the true starting point for an Antarctic collection” (Taurus).
Weddell first sailed to the Antarctic in the brig Jane of Leith in 1819-1821 in order to open
new sealing grounds near the newly-discovered South Shetland Islands. No printed record
of this first voyage was issued. In 1822, Weddell undertook the present important second
voyage aboard the Jane, accompanied by the cutter Beaufoy commanded by Matthew
Brisbane. They explored the Cape Verde Islands, South Shetland, South Orkney and the
South Georgia Islands. The expedition reached 74°15’ South -- farther south than any other
ship to that point. Remarkably, Weddell reported the seas to be free of ice. The sea directly
north of the present British Antarctic Territory identified on one of the present maps as “The
Sea of George the Fourth” is now named in Weddell’s honour.
Books on Ice 6.1; Rosove 345.A1; Sabin 102431; Spence 1246; Taurus Collection 4; Abbey, Travel 609; Hill
1843.
(#25552) $ 3,250
NATURAL HISTORY
52 ABBOT, John (1751-1840); after.
[Album of watercolor drawings of butterflies and moths after Abbot, titled in manuscript:]
Histoire naturelle des lépidoptères les plus rares de Géorgie d’après les observations de M. Jean
Abbot. Imprimé à Londres en 1797.
[France: 1800-1830]. Oblong 8vo (6 3/8 x 8 inches). Manuscript title within a red ruled border,
2pp. manuscript index in rear. 40 pen-and-ink and watercolour drawings, each captioned in
red ink, recto only on 40 sheets of wove paper (watermarked Horne). Contemporary black
morocco-backed blue paper covered boards, yellow endpapers (lacks front free endpaper).
Beautiful French album of watercolours of lepidoptera after Abbot.
John Abbot was one of the most important American natural history artists and his illustrations
are amongst the finest ever made. Born in London in 1751, Abbot sailed for Virginia in July
1773, with orders for both actual specimens and drawings of the local insects. For the next
two years he continued to collect and paint, sending home three insect collections, although
only one arrived safely. The loss of these two valuable collections at sea together with the
worry over political unrest in Virginia led Abbot to move to Georgia: he settled in St. George
Parish (later Burke County), Georgia in December 1775. Abbot traveled widely throughout
Georgia devoting his time to the study of the natural flora and fauna. The flow of specimen
collections and watercolours of insects ensured that his name became known to many of the
foremost natural scientists and collectors of the day, both in America and Europe.
Abbot’s Natural History of the Rarer Lepidopterous Insects of Georgia was first published in
London in 1797. The present French manuscript includes forty watercolours based on the
plates from that edition. The images comprise 53 depictions of butterflies and moths on the
40 sheets, with 11 of the images including depictions of the lepidoptera in caterpillar form
and several with depictions of flora and/or chrysalis. Each image is captioned in French
above or below the image and numbered 1-40 in the upper right corner; the alphabetical
index corresponds to each watercolor ensuring that no images have been removed from the
album.
Between 1829 and 1837, interest in Abbot in France was greatly elevated due to the publication
of a new work based on Abbot watercolours commissioned by lepidopterist Jean Baptiste
Boisduval and John Eatton LeConte. It would seem possible that this album was related in
some way to lepidopterist Jean Baptiste Boisduval.
Cf. Vivian Rogers-Price, John Abbot in Georgia: The Vision of a Naturalist Artist (Madison, Georgia: MadisonMorgan Cultural Center, 1983); cf. John V. Calhoun, A Glimpse into a Flora et Entomologia, in Journal of the
Lepidopterists’ Society, 60:1 (2006).
(#29094) $ 14,000
53 ABERCROMBIE, John (1726-1806).
The Hot House Gardener on the General Culture of the Pine-Apple, and methods of forcing
early grapes, peaches, nectarines, and other choice fruits, in hot-houses, vineries, fruit-houses,
hot-walls, &c., with directions for raising melons and early strawberries.
London: John Stockdale, 1789. 8vo (9 1/2 x 5 3/4 inches). 2pp. advertisements at rear. 5
hand-coloured engraved plates, printed in red. Contemporary tree calf, flat spine divided
into compartments with gilt double fillets, red morocco lettering piece in the second.
A very fine coloured copy of a rare early illustrated work on the forcing of pineapples, grapes,
peaches, nectarines, melons and strawberries.
“Ten years after publishing The British Fruit-Gardener ... John Abercrombie supplemented it
with another book of about a handful of the most demanding fruits. The Hot-House Gardener
concentrates on the pineapple and other ‘highly-esteemed fruits’ needing protection and
extra heat’” (Oak Spring Pomona).
The engraved plates, printed in red ink and hand coloured, are quite unusual; they comprise:
the Sugar Loaf Pine Apple; a bunch of Muscat of Alexandria grapes; a Royal George Peach,
and a Roman Nectarine; a Canteloupe Melon, ripe May; and Duke Cherries, and Scarlet
Strawberries.
Raphael, Oak Spring Pomona 100 (the Plesch copy); Dunthorne 2; Johnston 589; Henrey 3.402; Hunt 700.
(#29442) $ 2,400
54 ALBIN, Eleazar (c.1680-c.1742).
Histoire Naturelle des Oiseaux.
The Hague: Pierre de Hondt, 1750. 3 volumes, 4to (10 3/4 x 9 inches). Titles printed in
red and black, 306 fine hand-colored etched plates after Eleazar, Elizabeth and Forinalus
Albin, by Henry Fletcher and others, engraved headpiece by J. van Schley, metal cut initials
and ornament. Contemporary Dutch red panelled morocco with green morocco inlay,
central compartment gilt decorated in panels and small tools, spines with raised bands in 7
compartments, tan and brown morocco lettering pieces in the second and third, the others
with a repeat decoration in gilt, marbled endpaper, edges gilt and gauffered (expert repairs at
joints). Provenance: J. F. Symons-Jeune (armorial bookplate).
First edition in French of Albin’s Natural History of Birds: this set in an impressive contemporary
red morocco binding and with beautiful original hand colouring.
Eleazar Albin came to England from Germany in about 1707, changing his surname from
Weiss. “To earn a living he made watercolour drawings of objects of natural history in the
cabinets of wealthy collectors, such as Sir Hans Sloane, who became his patrons. When he
decided to publish his drawings, these patrons subscribed to his books ... He etched some
of his 306 copperplates for A Natural history of birds ... These were issued in three volumes
between 1731 and 1738 ... With the publication of this book, Albin became the instigator
or very early exponent of the many facets of the zoological illustrated book in England.
This was the first English bird book with hand-coloured illustrations etched in part by the
author himself. Albin established the tradition of an illustration of the bird and branch kind”
(Jackson, Dictionary of Bird Artists).
The plates for the present first edition in French were printed from the original copperplates.
Dedicated by de Hondt, the publisher, to Prince Charles Alexandre of Lorraine, this edition
was published in both coloured and uncoloured issues: the present high quality hand
colouring, coupled with the deluxe red morocco binding, would indicate an original owner
of importance.
Anker 6; Fine Bird Books p. 54 (first English edition only); Nissen IVB 16.
(#29656) $ 32,500
55 AUDUBON, John James (1785-1851); and Victor G. AUDUBON (1809-1860).
[Original ledger and letter book kept by Audubon, with important historical content regarding
his business, especially the printing and distribution of the octavo Birds of America and the first
folio edition of the Quadrupeds].
[New York: 1842-1845]. Folio (12 x 7 3/4 inches). [73]pp. of expenditures, plus [8]pp. of
letters. Some toning and foxing, the first three leaves and other intermittent leaves removed,
with remnants in the gutter, likely removed from the ledger book by the Audubons. Expertly
bound to style in half calf over original marbled paper covered boards, remnants of old tape
repairs on boards. Housed in a full modern morocco box.
The Audubon family ledger book: accounting for the Birds and Quadrupeds.
A highly important manuscript ledger book detailing the accounts of John James Audubon.
The legendary naturalist records business expenditures beginning Dec. 10, 1842 and running
through Feb. 14, 1844. The ledger is written largely in the hand of Audubon’s son, Victor
Gifford Audubon, who was managing the production of the Quadrupeds during the years
covered here. The ledger includes numerous line items related to the printing and sale of the
octavo edition of Audubon’s Birds of America, with several expenditures to the printer, J.T.
Bowen, receipt and delivery of parts from Philadelphia, notations for copies “given away” or
“returned,” records of payments received from various subscribers, and much more.
Audubon also includes information on the Quadrupeds: “Sundries to Quadrupeds of
America,” “Nos. of Quadrupeds given away” to various publications (likely for review), an
entry for “Edward Prime to Quadrupeds of America No. 1 with Portfolio,” “Quadrupeds of
America No 2 Portfolio,” and more. There are entries here on every page for some aspect of
the production and/or sale of Audubon’s two greatest works, a treasure chest of information
for researchers interested in two of the greatest American books ever printed.
Along with the expenditure notations for the production of the two works, the ledger includes
lengthy lists of subscribers to both the octavo edition of the Birds of America and to the first
edition of the Quadrupeds. The lists include information on which parts issue are to be sent
to which subscriber, with costs listed and often summed. Notable names in the subscribers’
lists in this ledger include Audubon engraver Robert Havell, naturalist John LeConte,
publisher John P. Jewett, Henry Clay, the Mercantile Library, and the Natural History Society
of Montreal, among many dozens, if not hundreds of others.
In addition to the ledger text, a penciled manuscript note on the flyleaf appears to be in
Audubon’s hand, and reads: “num of plates of Quadrupeds deficient in first no. sent by Bowen
- viz - 2 Squirrels 1 Hares 1 Wood-chucks short of ivo[?] Each.” Audubon’s Quadrupeds
was his final great natural history work, with descriptions of the quadrupeds of “the British
and Russian possessions in the north, the whole of the United States and their territories,
California, and that part of Mexico north of the tropic of Cancer.” Unlike the double-elephant
folio edition of The Birds of America, which was printed in London, the Quadrupeds was
produced in the United States. It is the largest and most significant color plate book produced
in America in the 19th century, and a fitting monument to Audubon’s continuing genius. Rev.
John Bachman, the man who greatly assisted Audubon in the creation of the Quadrupeds ,
was describing the work by the spring of 1844, as “beautiful and perfect specimens of the art,
probably unique in the world of natural history” (Ford, p.405). The first proofs were ready in
1842, but Audubon was fully employing the services of lithographer J.T. Bowen on the octavo
edition of The Birds of America, which was the greatest money-maker of any of the Audubon
family ventures. Instead, Audubon and his sons busied themselves in gathering subscribers,
signing up over 200 by the summer of 1844 (eventually the subscription list reached 300). The
last part of the octavo Birds appeared in May 1844, and publication of the folio Quadrupeds
immediately went into high gear. The first number was issued in January 1845 and the first
volume completed within the year. At this point Audubon’s health began to fail dramatically,
and responsibility for new art work fell mainly on John Woodhouse Audubon, with some
help from his brother, Victor.
The ledger contains eight pages of first draft letters by John James Audubon and V.G. (Victor
Gifford) Audubon, all of the letters likely in Victor’s hand, all relating to the production of the
Quadrupeds. The letters addressed to George Putnam, Edward Everett, and Thomas Burnell
(all in London) include interesting content relating to sales of prints and requested shipment
of specimens to Audubon for inclusion in the Quadrupeds .
The Nov. 5, 1844 letter from Victor Audubon to George Putnam discusses invoicing and
reception of the first six numbers of the Quadrupeds, as well as asking Putnam to write to the
Audubons regarding the “large work on the Birds,” presumably a request for a review of the
elephant folio Birds.
Audubon’s letter to “The President of the Hudson’s Bay Company,” likely George Simpson,
and dated Feb. 19, 1845, is a request for specimens for the Quadrupeds that the Hudson’s
Bay Company might possess, for inclusion in the said work. Audubon mentions Rev. John
Bachman in his letter, then provides a long list of the specimens he is seeking, including
wolverines, bears, marmots, squirrels, deer, ox, and more.
Audubon’s letter to Edward Everett, transmitting the Simpson letter for delivery, is also
included. Everett was, according to Audubon biographer Alice Ford, “the most helpful of
Audubon’s friends.... He had nominated Audubon for the American Academy of Arts and
Letters, and his distribution of the prospectus [for The Birds of America] was brought off
with a competence worthy of this former editor of the North American Review.”
The final letter included here is dated Feb. 22, 1845, from Victor Audubon to Thomas Burnell,
an Audubon subscriber and possible agent for Audubon in England. Victor writes to Burnell
in London, transmitting both of John James Audubon’s recent letters (to the president of the
Hudson’s Bay Company and to Edward Everett), and also asking Burnell for assistance in
finding the specimens still needed for the Quadrupeds.
The rear of the ledger contains fourteen pages of manuscript notations listing 217 subscribers
for the first edition of the Quadrupeds, including Prince Albert and James Lenox (3 copies! ).
Organized by city/country, it appears that several names included in the ledger as subscribers
do not appear as subscribers in the final printed text.
The ledger was the property of Audubon’s great granddaughter, Margaret Audubon
McCormick when sold at Sotheby’s New York, Jan. 26, 1983.
An amazing primary source for Audubon collectors and researchers interested in the
economics behind his two greatest works.
Alice Ford, John James Audubon, (Norman, 1964).
(#29691) $ 87,500
56 AUDUBON, John James and John BACHMAN (1790-1874).
The Quadrupeds of North America.
New York: V. G. Audubon, 1849-1854. 31 original parts, 8vo (10 5/8 x 7 1/4 inches). Vol. 1
title and half-title bound at front of no. 1, vol. 2 title at end of no. 21 and vol. 3 title and halftitle at end of no. 31. Indexes in parts 10, 21 and 31. 155 hand-colored lithographed plates by
W.E. Hitchcock and R. Trembly after J.J. and John Wodehouse Audubon. Original lettered
parts wrappers, sympathetically rebacked in cloth. Housed in a morocco backed cloth box.
First edition in the rare original parts of Audubon’s final great natural history work, with plates
and descriptions of the quadrupeds of the United States including Texas, California and Oregon,
as well as part of Mexico, the British and Russian possessions and Arctic regions.
Audubon’s collaborator on the Quadrupeds was the naturalist and Lutheran clergyman John
Bachman who had studied quadrupeds since he was a young man and was a recognized
authority on the subject in the United States. The two began their association when Audubon
stayed with Bachman and his family in Charleston for a month in 1831, this friendship was
later cemented by the marriage of Victor and John W.Audubon to Bachman’s daughters, Maria
and Eliza. Audubon knew Bachman’s contribution to the Quadrupeds would be crucial, and
endeavored to convince his friend to lay aside his fears about the project. Audubon was
eager to begin what he felt could be his last outstanding achievement in natural history, but
Bachman was more cautious and worried that they were entering a field where `we have much
to learn’. Audubon persisted in his efforts to get him to take part, and Bachman, `anxious to
do something for the benefit of Victor and John [Audubon]’, eventually relented, with the
final condition that all of the expenses and all of the profits should go to the Audubons. By
1835, Bachman had become indispensable to the Quadrupeds project, writing most of the
text and editing the entire work.
With the success of the octavo edition of the Birds of America in mind, a similar edition of
the Quadrupeds was envisaged from an early stage. The folio edition was published in 30
numbers between 1845 and 1854, and publication of the first octavo edition began in 1849
and was also completed in 1854. Unfortunately Audubon did not live to see the completion of
either project, and after his death in January 1851 the work was seen through to completion
by his son John Woodhouse Audubon. The two editions form a fitting memorial to the
greatest natural history artist of his day.
The Prospectus, printed on the back wrappers, states that “The present will be a miniature
copy of the large edition, with figures and descriptions of the Quadrupeds of the United
States, (including Texas, California, and Oregon), part of Mexico, the British and Russian
Possessions and Arctic regions of our continent. Each number will contain five plates,
lithographed in a superior style and carefully coloured from the original drawings. The
numbers will be delivered to subscribers at intervals of not less than one month, and the
work will be completed in thirty numbers.”
Rare in original parts.
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
(#29657) $ 27,500
57 BULLIARD, Pierre (1742-1793).
Flora Parisiensis, ou descriptions et figures des plantes qui croissent aux environs de Paris, avec
les différens noms, classes, ordres et genres qui leur conviennent, rangés suivant la méthode
sexuelle de M. Linné.
Paris: chez Didot jeune, 1776-1783. 6 volumes, 8vo (7 3/4 x 4 3/4 inches). General title in
vol. I within hand-coloured engraved border, titles in vols II-VI within ornamental border,
pp.32 + [2] Introduction at beginning of vol. I complete with half-title, engraved table of
contents printed recto and verso, and 2 numbered hand-coloured engraved plates, 640 handcoloured engraved plates. (Light scattered spotting and browning). Contemporary mottled
sheep, covers with gilt triple fillet borders, gilt spines with red and green morocco gilt labels,
period marbled endpapers. (Skilful repairs to head- and tailcaps). Provenance: early ink
manuscript corrections to about 20 plates and explanatory-text leaves.
First and only edition: a rare complete copy of a classic herbal of plants from the Ile de France,
illustrated with 642 engraved hand-coloured plates.
A skillful botanist and pupil of Rousseau, Pierre Bulliard (1722-1793) produced two
ambitious works; the present Flora Parisiensis and the voluminous Herbier de la France The
author “was another picturesque outsider whose works represented the Linnaean tradition
in Paris. Bulliard was a descriptive naturalist, little given to theoretical or methodological
meditations, but an industrious and skilled draftsman and floristic botanist” (Stafleu).
Rare, with only the De Belder copy and one other complete example in the auction records.
The De Belder catalogue notes that most examples lack the sixth volume and the introductory
leaves, both present here.
Great Flower Books (1990), p.81; Nissen BBI 295; Stafleu & Cowan 904; De Belder sale 50.
(#29684) $ 12,500
58 CATESBY, Mark (1683-1749).
The Natural History of Carolina, Florida, and the Bahama Islands containing the figures of
birds, beasts, fishes, serpents, insects and plants; particularly those not hitherto described, or
incorrectly figured by former authors, with their descriptions in English and French ... By the
late Mark Catesby ... Revised by Mr. Edwards ... Histoire Naturelle de la Caroline, de la Floride,
et des Isles de Bahama ...
London: printed for Benjamin White, 1771 [plates on wove paper watermarked 1815-1816].
2 volumes, folio. Titles and text in English and French. 220 hand-coloured engraved plates by
or after Catesby (3 plates [61, 80 and 96 in volume 2] after Georg Dionysius Ehret), 1 doublepage hand-coloured engraved map of Carolina, Florida and the Bahama Islands. Expertly
bound to style in half diced russia over period marbled paper covered boards, spines in seven
compartments with raised bands, tooled in gilt on either side of each band, lettered in gilt
in the second and fourth compartments, the others with a repeat decoration in gilt, yellow
edges.
“Catesby’s Natural History is the most famous colour-plate book of American plant and animal
life ... a fundamental and original work for the study of American species” (Hunt). A lovely 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.
This is undoubtedly the most significant work of American natural history before Audubon.
This copy a fine example of a later issue of the third edition.
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 plates himself to ensure accuracy and economy. The 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 Things 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 different times, having a succession of them procured
while the former lost their colours ... Reptiles will live for many months ... so that I had no
difficulty in painting them while living” (Vol.I, p.vi).
First issued in parts between 1730 and 1747, this 1771 third edition appeared in at least
two issues. The first was produced in 1771, and was printed throughout on laid paper. The
present copy is a later issue, with the text still on laid paper, but the plates on Whatman wove
paper. This wove paper was ideal for the printing of engraved plates as the smooth surface
takes an impression much more correctly than the earlier laid paper, where the chain lines
produce slight corrugations in the paper surface. Copies vary in the quality of colouring; in
the present copy the colouring is superb.
Anker 95; Clark I:55; Dunthorne 72; Fine Bird Books (1990), p. 86; Great Flower Books (1990), p.85; Meisel
III:340; Nissen BBI 336, IVB 177; Sabin 11509; Stafleu & Cowan TL2 1057; Wood p. 282; Amy Meyers and
Margaret Pritchard, Empire’s Nature, Mark Catesby’s New World Vision, Williamsburg, 1998.
(#29658) $ 160,000
59 CURTIS, Henry (1819-1889).
The Beauties of the Rose. Containing Portrait sof the principal varieties of the choicest perpetuals.
With plain instructions for their cultivation.
Bristol: John Lavars; London: Groombridge & Sons, 1850-1853. 2 volumes in 1, 4to (10
1/4 x 8 1/4 inches). Lithographed titles printed in gold, 38 hand coloured lithographed
plates. Plates trimmed close. Early 20th century half green calf over cloth boards, spine with
raised bands in six compartments, lettered in the second and fourth, the others with a repeat
decoration in gilt, marbled endpapers, top edge gilt.
With beautiful hand coloured plates of roses
The only monograph by Henry Curtis, Samuel Curtis’ son, who operated the West of England
Roseries in Bristol, containing a fine selection of the rose cultivars or hybrids available
through a commercial nursery. Curtis appears to have drawn all of the plates from examples
grown in his own nurseries, and with each gives practical advice on their cultivation based
on his own experiences.
Pritzel 435; Nissen BBI 435; Great Flower Books (1990) p.88
(#29867) $ 2,750
60 DENTON, Sherman Foote (1856-1937).
Moths and butterflies of the United States east of the Rocky Mountains.
Boston: J. B. Millet Company, [1900]. 2 volumes, large octavo (8 5/8 x 6 3/4 inches). 56
nature-printed and hand-coloured plates, approximately 400 illustrations. Publisher’s
crushed olive morocco gilt, spines tooled in with butterfly decorations in each compartment,
marbled endpapers gilt edges (expert repairs at joints). Contemporary slipcases.
A fine copy of this remarkable nature-printed work, one of 500 numbered sets.
A sumptuous colour-plate book on the butterflies of the United States east of the Rockies.
The colour plates in this work are quite remarkable, as, whilst the bodies are hand-coloured
engravings, the wings are impressions from the actual insects’ wings pressed onto the paper.
In the preface Denton describes his labours as he travelled widely in search of specimens:
“The colored plates, or Nature Prints, used in the work, are direct transfers from the insects
themselves; that is to say, the scales of the wings of the insects are transferred to paper while
the bodies are printed from engravings and afterward colored by hand... I have had to make
over fifty thousand of these transfers for the entire edition, not being able to get anyone to
help me who would do the work as I desired it done... I will say, however, that there was never
a laborer more in love with his work.”
Bennett p.33; McGrath p.177; Nissen ZBI 1079; Reese Stamped with a National Character 107.
(#29565) $ 3,200
61 ELLIS, John (1711-1776).
Essai sur l’Histoire Naturelle des Corallines, et d’Autres Productions Marines du Meme Genre.
The Hague: Pierre de Hondt, 1756. 4to (10 5/8 x 8 1/2 inches). xvi, 125, [3]pp. Engraved
frontispiece and 39 engraved plates (5 folding), hand coloured throughout at a period date.
Publisher’s ad leaves in the rear. Contemporary manuscript annotations. Contemporary
mottled calf, covers with a gilt border and corner pieces, spine with raised bands in seven
compartments, red morocco lettering piece in the second, the others with a repeat overall
decoration in gilt.
Very rare hand coloured copy of the first edition in French of a noted illustrated treatise on the
marine plants of Britain.
Ellis (1711-76), an Irish-born merchant and naturalist, was proclaimed by Linnaeus as “the
main support of natural history in England.” The present work, first published in London the
year prior, is an extensive illustrated treatise on corals, sponges, and marine plants from the
coasts of Britain. The work includes a depiction and description of a microscope in the final
chapter.
The work, either in its first English or the first French edition, is seldom seen with period
hand colouring, as in the present example.
Nissen, BBI 590; Stafleu & Cowan 1661; cf. Henrey, II, p. 283.
(#29737) $ 4,750
62 FERRARI, Giovanni Battista (1584-1655).
Florum Cultura Libri IV.
Rome: Stephanus Paulinus, 1633. Quarto (9 1/2 x 6 1/2 inches). Frontispiece, engraved title
and 45 engraved plates. Contemporary vellum, manuscript titling on spine.
First edition of Ferrari’s first printed work and the “first floral book of importance that was
published in Italy” (E.A. Bunyard). One of the most rewarding 17th century books on horticulture,
garden design, and in particular on exotic flowers of all kinds.
The work “was intended by its author to serve as a manual on ornamental flowers and their
cultivation. It is divided into four parts. The first describes how to set up a garden, the
second presents some of the most popular flowers of the period (the narcissus, crocus,
tulip, fritillary, etc.) and their characteristics, and the third provides instructions on their
cultivation. However interspersed throughout the work and in the fourth section in particular
are a variety of fascinating digressions ranging from precepts on the fitting up of a garden ...
to a discussion of floral [marvels and artifices], secrets for tinting flowers or marking petals
with heraldic figures, and advice on how to obtain [puckered] blooms or flowers of unusual
dimension or form” (Oak Spring Flora).
The very finely executed botanical plates, including several by Anna Maria Vaiani, depict
designs for gardens, gardening tools, flowers, as well as designs for vases for cut flowers,
and flower arrangements. The seven allegorical plates are especially splendid, after designs
by the leading artists then working in Rome: Pietro da Cortona, Guido Reni, and Andrea
Sacchi. Many of the plates would be copied by Johann Theodor de Bry in his own floriligium,
published eight years later.
This first edition is by far the rarest and has the finest impressions of the very delicate plates.
Hunt 222; Nissen BBI 620; Pritzel 2877; Tomasi, Oak Spring Flora 29 (Italian edition); E.A. Bunyard ‘Some
Early Italian Gardening Books’ in Journal R.H.S. (1923), pp.180-181
(#29512) $ 2,600
63 GOETHE, Johann Wolfgang von (1749-1832).
Versuch ueber die Metamorphose der Pflanzen.
Gotha: Carl Wilhelm Ettinger, 1790. 8vo (8 x 5 inches). [6], 86pp. Contemporary marbled
paper boards, expertly rebacked to style. Housed in a black morocco box.
First edition, first issue: a milestone of both botany and science.
In his first scientific treatise, the great German philosopher and writer explains his search for
a unified organic theory that would explain all living botanical and zoological forms. Offered
in opposition to Linnaeus’ static botanical classification, Goethe believed in a plant’s ability
to adapt and change, detailing what he believed to be the homologous nature of leaf organs
in plants. A pioneering work on plant metamorphoses, and in many respects a precursor to
Darwin.
Sparrow 86; Norman 913; DSB V, 241ff; Hagen 211; Osler 2767; Pritzel 3452; Kippenberg I, 368
(#29427) $ 2,250
64 HORTICULTURAL SOCIETY OF LONDON.
Transactions of the Horticultural Society of London ... [Bound with:] Transactions ... Second
Series.
London: W. Bulmer & Co. [and others], 1820-1830 [first series]; 1835-1848 [second series].
10 volumes (first series: vols. I-VII; second series: vols. I-III [all published], 4to (11 3/4 x
9 inches). Seven engraved titles, 175 plates, including 91 hand-coloured engraved plates,
after Hooker, Withers, Drake, Barbara Cotton, C.J. Robertson, Lady Broughton and others,
engraved by W. Say, W. Clark and others, 9 folding plates, numerous illustrations. Uncut.
(Minor foxing and browning). Expertly bound to style in half green straight grain morocco
over period marbled paper covered boards, spines with raised bands in six compartments,
lettered in the second and fourth, the others with a repeat decoration in gilt. Provenance:
Dr. Edward Scudamore (1778-1850, ink signatures); Arnold Arboretum (ink stamp on
endpaper).
A rare complete run of the most important British pomological and botanical journal of its day,
and a showcase for the talents of some of the greatest botanical artists working in Britain at the
time.
The Horticultural Society of London was founded by Sir Joseph Banks, John Wedgwood
and others in 1804 and become The Royal Horticultural Society in 1861. The Transactions,
the leading horticultural journal of its time, contain valuable contributions on fruits and
vegetables, particularly peaches, strawberries, apricots, cherries and gooseberries by T. A.
Knight, George Lindley, James Barnet, and Robert Thompson, and others.
William Hooker (no relation to Sir William) served as botanical artist to the Horticultural
Society (now the Royal Horticultural Society) from 1812 until he retired in 1820. The present
work includes a good selection of plates taken from his fruit paintings which, according to
Blunt and Stearn, reveal him to have been “one of the greatest pomological artists of all time”
(The Art of Botanical Illustration, p. 233). There are also some excellent examples of the work
of Sarah Drake (including a particularly fine folding plate of the orchid Cattleya guttata) and
Augusta Withers (the luminous quality of the fruit in the Ickworth Imperatrice Plum plate
is remarkable), who combined their talents to such memorable effect in James Bateman’s
Orchidaceae of Mexico and Guatemala (London: 1837-1843)
As usual, this set a mixed edition: vols. 1-2, third edition; vol. 3, second edition; vols. 4-7 and
second series vols 1-3, first edition. Unusually, this set is uncut, with deckle edges. As many
of the plates are printed close to the sheet edge, sets of the Transactions are often found with
the plates trimmed into the subject, a fault not found in this uncut set. Complete sets of both
the first and second series and complete with all the plates are seldom encountered.
Dunthorne 142; Great Flower Books (1990) p. 160; Nissen BBI 2387
(#29434) $ 18,500
65 KNORR, Georg Wolfgang (1705-1761).
Vergnügen der Augen und das Gemüths in Vorstellung einer allgemeinen Sammlung von
Muscheln und andern Geschöpfen, welche im Meer gefunden werden.
Nuremberg: Knorr, 1757-1773. 6 parts in four volumes, quarto (9 x 7 1/2 inches). 6 hand
coloured engraved titles, 190 fine hand-coloured engraved plates (the final 10 with a dark
brown background) after Knorr, C. Dietzsch, Johann Conrad, C.N. Kleeman, Chr. Leinberger
and J. C. Keller by Johann Adam Joninger, Jacobus Andrea Eisenmann, Paul Küffner, Andreas
Hoffer, H.J. Tyroff, Valenton Bischoff, and Gustav Philip Trautner. Contemporary calf-backed
speckled paper covered boards, spine with raised bands in six compartments, red and black
morocco lettering pieces in the second and third, period marbled endpapers. Provenance: Dr.
James Wood (armorial bookplate); William Edward Collins of Keithick (bookplate, signature
and inscriptions).
The first edition of one of the finest conchological works ever produced, and a superbly illustrated
natural history book.
The plates are all beautifully composed and hand coloured, depicting nearly 1000 shells
from the cabinets of the most important collectors of the period. Many of the plates include
identification engraved below the image as to whose collection from which the specimen
was drawn. The final ten plates, published after Knorr’s death, are done in white against a
dark brown background, creating striking visual images. The present example with beautiful
original hand coloring. As Dance notes, the plates “are all extremely well drawn and
beautifully painted.”
The early owner of the present set, William Edward Collins, has meticulously annotated the
plates on facing interleaves, identifying each shell by its Linnaean name and cross referencing
each by number to Lewis Weston Dillwyn’s A Descriptive Catalogue of Recent Shells (London:
1817).
The present set is the first edition, and as such is considerably more scarce than the later
editions in Dutch and French.
Nissen ZBI 2234; Dance p. 74
(#29938) $ 14,000
66 LAUREMBERG, Peter (1585-1639).
Horticultura, Libris II. comprehensa; huic nostro coelo & solo accommodata ... in qua quicquid
ad hortum proficue colendum, et eleganter instruendum facit, explicatur. [Bound following:]
Apparatus Plantarius primus: tributus in duos libros. I. De plantis bulbosis. II. De plantis
tuberosis.
Frankfurt: Matthias Merian, 1631-1632. 2 volumes in one, small 4to (8 1/8 x 6 1/4 inches).
[Horticultura:] 196pp. Engraved title, 23 engraved plates, 6 engraved illustrations. [Apparatus
Plantarius:] 168pp. Engraved title, 36 engraved illustrations within the text (one being an
overslip, as issued). Contemporary calf, covers bordered with a blind double fillet, expertly
rebacked to style, spine with raised bands in six compartment, black morocco lettering piece
in the second.
A pair of influential 17th century botanical works.
The author served as a professor at the University of Rostock, teaching mathematics, physics
and medicine. The present pair of works are often found bound together. The Horticultura,
a scientific garden manual, treats plant reproduction, methods of propagation, pruning
and irrigation, the design and lay-out of orchards, flower and herb gardens, as well as the
medicinal uses of various plants. Five plates illustrate gardening tools, 18 are of designs for
parterres and labyrinths, and two are of topiary. The second work (here bound preceding
the first) is devoted to bulbous and tubular plants, and includes numerous illustrations by
Merian of many of the most popular garden flowers of the period, most notably being the
tulip.
Nissen 1146 and 1147; Pritzel 5088 and 5089; Hunt 219 and 221; Morton, History of botanical science p. 222-3
(#29436) $ 3,750
67 MacPHAIL, James (b. 1754).
A Treatise on the Culture of the Cucumber: shewing a new and advantageous method of
cultivating that plant.
London: Printed for the Author; and sold by T. Cadell, 1794. 8vo (8 1/4 x 5 1/8 inches).
Engraved folding frontispiece plate. Contemporary calf backed marbled paper covered boards
with vellum tips, flat spine in six compartments, red morocco lettering piece in the second,
the others with overall decoration in gilt. Provenance: George Thomas Leaton-Blenkinsopp
(armorial bookplate, arms on the spine).
A lovely copy of MacPhail’s work on the forced cultivation of cucumbers.
MacPhail (fl. 1786-1805), the gardener to Lord Hawkesbury in Surrey, here advocates his
controversial system of cultivating cucumbers in a brick bed. “This is the first edition of the
work which introduced MacPhail’s cucumber forcing frame which achieved considerable
popularity” (Johnson). Scarce.
Henrey III:999; Johnson 624
(#29432) $ 2,200
68 MEDICINE - Peter CANVANE (1720-1786).
A Dissertation on the Oleum Palmae Chisti, sive Oleum Recini; or, (as it is commonly call’d)
Castor Oil.
Bath: Printed by C. Pope, [circa 1765]. 8vo (7 3/4 x 4 3/4 inches). [2], vi, 88; [8]pp. Engraved
frontispiece. Expertly bound to style in half russia over period marbled paper covered boards.
First edition of the first essay to promote the use of castor oil for medicinal purposes.
“Canvane was born in the American colonies, studied medicine at Leyden before taking his
M.D. from Rheims, practiced medicine for a considerable time in St. Kitt’s, then moved to
Bath where he practiced until eventually moving to the European continent. He and an army
surgeon named Fraser jointly share the honor of introducing castor oil to the medicine chests
of Great Britain” (Johnson).
In this work, after describing the plant and the method for preparing the oil, Canvane details
dosages and reviews at length the various disorders in which castor oil has proved effective
(colic, various fevers, bilious complaints, thrush, tetanus, gonorrhoea and others). The final
eight pages, not cited in ESTC or elsewhere, and possibly unique this copy, is a scientific
classification in Latin of various fevers.
Rare, with no examples of the first edition cited in the auction records.
ESTC T67382; Wellcome II, p. 296; Blake, J. NLM 18th cent., p. 77.
(#29430) $ 2,250
69 ORTA, Garcia da (ca 1500-1568); and Nicolas
MONARDES (1498-1588).
Aromatum,
et
simplicum
aliquot
medicamentorum apud Indos nascentium
historia ... Tertia editio ... [Bound with:]
Simplicium medicamentorum ex novo orbe
delatorum ... Altera editio ...
Antwerp: Christophori Plantini, 1579.
2 volumes in 1, 8vo (6 1/8 x 4 1/8 inches).
[Orta:] 217, [7]pp. Woodcut illustrations.
[Monardes:] 84, [4]pp. Woodcut illustrations.
Expertly bound to style in period limp
vellum. Housed in a black morocco box.
A pair of important early botanical works,
recording the medicinal plants of India and
the New World: the most influential works of
exotic materia medica of the 16th century.
Orta’s work was first published in Goa in
Portuguese in 1563; the present Latin edition
was translated by Charles l’Ecluse and went through several editions in the 16th and early 17th
century. Orta “was an erudite Portuguese physician who spent many years in Goa, India. He
was physician to the Viceroy from 1554-1555. He made an intensive study of Indian plants
from which drugs were derived, indefatigably questioning the native physicians as to their
uses” (Hunt). “The first account of Indian materia medica and the first textbook on tropical
medicine written by a European” (Garrison-Morton). The Latin translation by Charles de
L’Ecluse added material relating to the New World, derived from Oviedo and Thevet.
The second work found here is Charles l’Ecluse’s abbreviated Latin translation of Monardes’
first two treatises on the medicinal plants of the Americas, first published in Spanish in
Seville in 1569 and 1571. Monardes, a Spanish physician, details the drugs and medicinal
herbs of the New World (including descriptions of Copall, Anime, Tacamahaca, Balsamo,
Guiacum, Mechoacan, etc.), with descriptions of their native uses and includes woodcuts of
tobacco (the first illustration of the tobacco plant), pepper, other plants, as well as an image
of an armadillo.
The early Latin editions of both works are scarce, though of the extant examples they are
frequently found bound together like the present.
[Orta:] Hunt 120 (1574 edition); cf. Garrison-Morton 1815; Adams O-321; Alden and Landis 579/39; Nissen
BBI 949; NLM/Durling 3416; Pritzel 4316n; Sabin 57665; Wellcome 4657. [Mondardes:] Hunt 118 (1574
edition); Adams M1593; Sabin 49942; Alden and Landis 579/38; Arents 27; Guerra Monardes 21; Nissen
BBI 1397; NLM/Durling 3217; Pritzel 6366n; Wellcome 4395. See Boxer, Two Pioneers of Tropical Medicine
(Cambridge, 1963).
(#29428) $ 4,500
70 REDI, Francesco (1626-1697).
Esperienze intorno alla generazione degl’insetti.
Florence: Francesco Onofri, 1674. Small 4to (8 7/8 x 6 1/2 inches). [4], 136pp. 40 engraved
plates (3 folding). Contemporary vellum, manuscript titling on spine.
The magnum opus of the father of experimental biology, refuting the theory of spontaneous
generation.
“Redi’s masterpiece ... in which he disproved the doctrine of spontaneous generation in
insects, inherited from Aristotle and still considered dogma. The microscope revealed in
insects an organization as marvelous as it was unsuspected. Redi prepared and observed the
egg-producing apparatus in insects, and he also used the microscope to good advantage in
observing the morphological elements characteristic of the eggs of each species” (DSB XI, p.
341). In his experiments, Redi proved that maggots come from the eggs of flies and did not
arise spontaneously from rotting meat, as was previously thought. His work also was the first
to describe ectoparisites, and include early depictions of various ticks. The present example
is a third edition, the first edition published in 1668.
Nissen ZBI, 3319; D. Pandi, Bibl. delle opere di F. Redi p. 3; Osler 3775
(#29545) $ 2,200
71 SPEECHLY, William (1734?-1819).
A Treatise on the Culture of the Pine Apple and the Management of the Hot-House.
York: Printed by G. Peacock, 1779. 8vo (8 5/8 x 5 1/2 inches). 2 engraved plates (one folding).
Uncut. Expertly bound to style in half russia over period marbled paper covered boards, flat
spine tooled in gilt in six compartments, red morocco lettering piece.
First edition of the most important English work on the culture of the pineapple in the 18th
century.
From 1767 until 1804, Speechly served as the gardener to the Duke of Portland, to whom this
work is dedicated. Described by Henrey as “the best kitchen, fruit, and forcing gardener of
his time”, the present work is widely considered the most important treatise on the culture of
the pineapple published in the 18th century.
Henrey III:1373; cf. Raphael, Oak Spring Pomona 99 (1786 edition)
(#29728) $ 1,200
72 SWEERTS, Emanuel (1552-?1612).
Florilegium amplissimum et selectissimum, quo non, tantum varia diversorum florum
praestantissimorum et nunquam antea exhibitorum genera, sed et rarae quamplurimae
Indicarum plantarum, et radicum formae, ad vivum partibus duabus, quatuor etiam linguis
offeruntur et delineantur ... [Bound with:] Florilegii pars secunda in qua agitur de praecipus
plantus et floribus fibrosas radices habentibus.
Amsterdam: Johannes Jansson, 1620; Frankfurt: Erasmi Kempfferi, 1614. 2 parts in one
volume, folio (15 1/4 x 10 1/4 inches). Text in German, Dutch, Latin and French. Engraved
title-page, engraved portrait and 110 copper-engraved plates (67 in first part, 43 in second).
Expertly bound to style incorporating period calf boards, covers blocked in blind with a
central arabesque device, spine with raised bands in six compartments, ruled in blind on
either side of each band.
Sweerts’s famed catalogue of plants and bulbs and among the most influential florilegia of the
first half of the 17th century.
Over 560 different flowering bulbs, shrubs, trees, fruit and vegetables are shown on the 110
plates, generally grouped by species. Inevitably, Sweert concentrates on the more showy
plants: Anemones, Ashodels, Cocus, Cyclamens, Fritillaria, Gladioli, Hyacinth, Iris, Lilies,
Narcissi and Daffodils, Peonies and of course Tulips. All of the plates are carefully composed,
and whilst some plates show the complete plant, others (the Anemones and Tulips for
example) show only the flowers. The work was first published in 1612-14 in Frankfurt and
was clearly a great success with a number of subsequent editions appearing in 1620, 1631,
1641, 1647 and 1655.
Sweerts (or Sweert or Schwerz) “was born in Zevenbergen, Holland, in 1552, but spent the
greater part of his life in Amsterdam, where he worked as an artist and as a merchant in
objets d’art and rare or curious specimens. Each year he went to Frankfurt for the celebrated
annual fair, setting up shop just in front of the Römer ... His coupling of professions was an
auspicious one, for rare flowers were considered prized items by collectors, but unlike the
other objects in the connoisseurs collection, their beauty was transient and could only be
captured on paper and canvas. Sweert’s fame as a floriculturalist spread far and wide, and
a white iris was even named after him ... His name often appears in the correspondence of
naturalists, botanists and floriculturalists of the period, and he himself corresponded with
many of them ... The Hapsburg emperor Rudolf II, possessor of many magnificent collections,
tried unsuccessfully to entice Sweerts to join his court at Prague as director of the royal
gardens” (Oak Spring Flora).
Nissen BBI 1921; Pritzel 9073; Oak Spring Flora 9; cf. Hunt 196
(#29371) $ 25,000
73 SWEET, Robert (1783-1835).
Cistineae. The Natural Order of Cistus, or
Rock-Rose.
London: James Ridgway, 1825-1830. Large
8vo (10 x 6 1/4 inches). 112 hand-coloured
engraved plates by J. Hart, M. Hart, W. Hart
and Mrs. Brown. Uncut. Contemporary
green cloth, covers blocked in blind, flat
spine divided into compartments with gilt
rules, lettered in gilt in the second.
Sweet’s highly decorative practical guide to the
cultivation of the Rock-rose or Cistus: one of
the most beautiful family of flowering plants.
Cistus species are upright evergreen shrubs,
having mostly pink or purple flowers, which
resemble roses. Originally published in 28
parts between July 1825 and January 1830,
each plate shows a single variety of Cistus or
Rock-rose and is accompanied by text giving
a taxonomic description and instructions for
the plant’s cultivation. The present example is a later issue, with plates on paper watermarked
1845.
Robert Sweet “was born in 1783 at Cockington, near Torquay, Devonshire. When sixteen
years old he was placed under his half-brother, James Sweet, at that time gardener to Richard
Bright of Ham Green, near Bristol, with whom he remained nine years. He subsequently
had charge of the collection of plants at Woodlands, the residence of John Julius Angerstein
... In 1810 Sweet entered as a partner in the Stockwell nursery, and when that was dissolved
in 1815, became foreman to Messrs. Whitley, Brames, & Milne, nurserymen, of Fulham, till
1819, when he entered the service of Messrs. Colvill. While in their employ he was charged
with having received a box of plants knowing them to have been stolen from the royal
gardens, Kew, but was acquitted after trial at the Old Bailey on 24 Feb. 1824. In 1826 he left
the Colvills, and till 1831 occupied himself almost wholly in the production of botanical
works, while still cultivating a limited number of plants in his garden at [Pomona Place]
Parson’s Green, Fulham. In 1830 he moved to [Cook’s Ground, King’s Road] Chelsea, where
he had a larger garden and cultivated for sale to his friends… He died on 20 Jan. 1835... He
had been elected a fellow of the Linnean Society on 14 Feb. 1812. The botanical genus Sweetia
was named in his honour by De Candolle in 1825” (DNB).
Nissen BBI 1922; Great Flower Books (1990) p.141; Stafleu & Cowan 13.546; Pritzel 9078.
(#29445) $ 3,950
74 THUNBERG, Carl Pehr (1743-1848).
Flora Japonica Sistens Plantas Insularum Japonicarum.
Leipzig: Mueller, 1784. 8vo (8 x 4 1/2 inches). lii, 418, [2]pp. 39 engraved folding plates.
Contemporary vellum, morocco lettering piece.
First edition of the first major work dealing with the flora of Japan.
Although Kaempfer had visited Japan at the end of the 17th century, by the end of the 18th
century little more was known about the flora of the tightly closed society. Only the Dutch
were permitted as traders, and even then were limited in terms of travel and access. In 1771,
a favorite pupil of Linnaeus, Swedish-born Thunberg was commissioned as a surgeon on a
Dutch East India Company expedition to Japan. Sponsored by several wealthy Dutch plant
collectors, Thunberg first stopped in the Dutch colony on the Cape of Good Hope for several
years in order to learn Dutch and be able to pass himself as a Dutchman to the Japanese. He
arrived in Japan in 1775, spending a year there collecting specimens, many received from
Japanese students in exchange for lessons in western medicine.
The present work, written on his return to Sweden in 1779, was the first major work dealing
with the flora of Japan, and indeed among the principal primary sources on Japan in the 18th
century. Styled on the title as a continuation of Linnaeus’ Plantarum, Thunberg compiled his
Flora based on his own observations and specimens, as well as those of Kaempfer and several
Japanese printed sources. Within the work, Thunberg identifies 21 new genera and hundreds
of new species.
Nissen BBI 1959; Stafleu & Cowan 14346; Pritzel 9257; Dunthorne 304; Johnston 554
(#29739) $ 7,500
75 TOURNEFORT,
Joseph Pitton de (16281705); and John MARTYN (1699-1768).
History of Plants growing about Paris, with
their uses in physick.
London: Printed for C. Rivington, 1732.
2 volumes, 8vo (7 1/2 x 4 1/2 inches).
[12], lxvii, [1], 311, [1]; [2], [2], 362, [70]
pp. Includes errata and publisher’s ads.
Contemporary English red morocco, covers
elaborately paneled in gilt, spine with
raised bands in six compartments, morocco
lettering piece in the second, the others
with a repeat decoration in gilt, marbled
endpapers, gilt edges (spine lightly faded).
Provenance: Robert James Petre, 8th Baron
Petre (armorial bookplate).
The dedication copy bound in contemporary
red morocco of the first edition in English
of Tournefort’s 1698 Histoire des Plantes: a
milestone in botanical classification.
Tournefort’s works were “milestones in
the history of taxonomy not only for the
conceptual advances they reflect but also for the wholly new form in which they are cast
...Tournefort’s work disregarded the major biological discoveries of the seventeenth century,
within its self-imposed limits it clearly outlined the avenues of study that led to the modern
system of classification” (DSB). “Tournefort’s significance lies in the fact of having classified
all plants into genera. Hundreds of the generic names coined or accepted by him were later
adopted by Linnaeus and are in use today ...” (Hunt). Tournefort’s genera have largely been
retained (he accepted 725), by leading taxonomists of the 18th century. Almost one-third of
the genera of French flora derive from Tournefort. His herbarium, with 6,963 species is one
of the treasures of the Muséum d’Histoire Naturelle at Paris.
The present first English edition of Tournefort’s catalogue and description of Parisian botany
and their medicinal uses was translated and edited by John Martyn, the noted professor of
botany at Cambridge and one of the founders of the London Botanical Society. Martyn’s
translation is dedicated by him to Robert, 8th Baron Petrie (1713--42, of Thorndon Hall) the
celebrated botanist and gardener. The present set, sumptuously bound in contemporary red
morocco and bearing Baron Petrie’s armorial bookplate, is the dedication copy, presumably
presented by Martyn to Petrie.
Henrey III:1433; ESTC T132744; Stafleu & Cowan 14.782
(#29734) $ 3,250
76 [WORLIDGE, John (fl. 1669-98)].
Systema Horti-culturae: or, the Art of
Gardening in three books.
London: Printed for Tho. Burrel, 1677.
8vo (7 x 4 3/8 inches). [24], 285, [18], [1]
pp. Engraved title and 3 engraved plates.
Contemporary mottled calf, expertly
rebacked to style, spine with raised bands in
five compartments, morocco lettering piece
in the second, the others with an overall
repeat decoration in gilt. Provenance: John
Rolle, 1st Baron Rolle (armorial bookplate).
First edition of a noted 17th century English
manual on gardening.
Worlidge’s work deals primarily with the
laying out and maintaining both pleasure
gardens of trees and flowers, as well as the
“kitchen” gardens. “My principal design
being not only to excite or animate such that
have fair estates and pleasant seats in the
Country to adorn and beautifie them: but to
encourage the honest and plain Countryman
in the improvement of his Ville, by enlarging
the bounds and limits of his Gardens as well
as his orchards, for the encrease of such esculant plants that may be useful and beneficial to
himself and his neighbors” (Preface).
“This popular treatise ... contains much useful advice and information for the practical
gardener. The author ... is generally considered one of the most enlightened of the seventeenth
century writers on gardening and husbandry” (Henrey, I, pp. 205-206). The plates, engraved
by Frederick Henderick van Hove, include two garden designs, as well as a plate depicting
fountains; the engraved additional title is set within a floral wreath surmounting two vases
and a basket of flowers, with a garland above.
Rare, with only two examples in the auction records for the last quarter century.
Wing W3603; Halkett & Laing 2534; Henrey I:369; Johnston 260; Fussell, pp 68-72
(#29431) $ 3,800
COLOR PLATE & ILLUSTRATED
77 ATKYNS, Robert (1647-1711); and Johannes KIP (1652-1722).
The Ancient and Present State of Glocestershire ... The Second Edition. Illustrated with seventythree copper plates.
London: T. Spilsbury, for W. Herbert [et. al.], 1768. Folio (18 1/2 x 11 1/2 inches). Engraved
double-page map, 8 plates of arms, 64 engraved views of the houses and gardens, engraved
by Kip. Contemporary russia, covers bordered in gilt, spine with raised bands in eight
compartments, green morocco lettering piece in the second, the others with an overall repeat
decoration in gilt, marbled endpapers.
A very fine large and thick paper copy of a noted 18th century English work on architecture and
garden design, with engravings by Kip in a beautiful binding
Although intended as a county history, Atkyn’s Gloucester is celebrated for its engraved views
by Kip depicting the early 18th century country life of England’s nobility, with beautiful
engravings of their stately homes and formal gardens. First published in 1712, the work is
one of the best topographical works of the eighteenth century. The present second edition is
noted for its high quality of printing and paper; the portrait of the author, included in the first
edition, was omitted from the second.
Brunet I, 539; Upcott I, p. 250.
(#29535) $ 12,000
78 CHINA - American Presbyterian Mission.
Seeing China [Temple Hill cut-outs].
[Chefoo, China: Self-help Dept., Women’s Bible School, Presbyterian Mission, circa 1930].
Oblong folio (13 1/4 x 10 inches). 24pp. Eleven hand-cut chapter headings and approx. 90
hand-cut and mounted black cut-out illustrations, many with colorful silk inlays. Publisher’s
1p. letterpress explanation leaf mounted on inside front pastedown. Contemporary stitched
pictorial silk covered flexible boards.
Scarce hand-made album of elaborate cut outs by Chinese women at the Ai Dao Bible School
in Chefoo.
The introductory letterpress leaf explains: “The cut-outs of Temple Hill are an adaptation
of figures of animals, plants, insects, dragons, etc. cut out by the women of Shantung for
unknown generations.” It would appear that several versions of these books were produced.
The present one, which is unrecorded by OCLC, is titled Seeing China and is divided into
sections, including Travel and Transportation, Customs and Habits, Occupations, The
Eight Immortals, Curios and Curiosities, Myths and Legends, Chow & How (including a
leaf of letterpress with seven recipes), Chinese Children, Chinese Junks and The Magician.
Although undated, the work includes a Chinese Birth-Year Cycle chart that encompasses the
dates as early as 1864 up until 1935.
(#29901) $ 4,750
79 CHIPPENDALE, Thomas (1718-1779).
The 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 ... The Third 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 after
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.
The third and best edition of Chippendale’s groundbreaking furniture pattern book, the first and
most important published book of furniture designs in 18th century England.
The Director was intended to function as a trade catalogue. The 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. The third edition began to appear
in installments in 1759, and was completed in 1762.
Although Thomas Chippendale’s famous pattern book, The Gentleman and Cabinet-Maker’s
Director, was first published in 1754 and reissued the following year, it was only with a
greatly enlarged new edition in 1762 that it had a serious influence 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 influence on local
cabinetmaking” (Heilbrunn Timeline of Art History. New York: The Metropolitan Museum
of Art, 2000).
The 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 influential 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 The 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; O’Neal 26. Berlin Catalogue 1227; Millard, British 15
(#29958) $ 12,000
80 CLAUDE
engraver).
Gellée, dit le Lorrain (c.1600-1682, artist). - Richard EARLOM (1742-1822,
Liber Veritatis; or A Collection of Prints after the original designs of Claude le Lorrain; in the
collection of [vol.I-II] His Grace the Duke of Devonshire [vol.III: the Duke of Devonshire, Earl
Spencer, Richard Payne Knight, Benjamin West..., Charles Lambert, Edward Turnor, George
Gosling, and Joseph Farrington]. Executed by Richard Earlom, in the manner and taste of the
drawings. To which is added a descriptive catalogue of each print; together with the names of
those for whom, and the places for which, the original pictures were first painted ... and the
present possessors of many of the original pictures.
London: [vols.I-II] published by Messrs. Boydell & Co, printed by W.Bulmer & Co; [vol.III:]
published by Hurst, Robinson & Co., printed by Thomas Davison, [1774-1775]; [1775-1777];
[1802]-1819. 3 volumes, small folio (16 1/4 x 10 3/4 inches). 2 mezzotint portraits (of Claude
and Earlom), 1 stipple-engraved portrait of John Boydell. 300 etchings with mezzotint, all
printed in bistre, all by Earlom after Claude. Expertly bound to style in half russia over period
marbled paper covered boards.
“The first complete edition, with the engravings in the best and final state, embodying the
important drawings from the great English collections of the period” (Abbey)
“This capital work, a landmark in the history of the reproduction of master drawings, is ...
an important forerunner of later publications on [Art Collections]... It contains 300 etchings
of drawings by Claude Lorrain, pastoral, mythological, and biblical subjects, and was called
Liber Veritatis [Book of Truth] for the purpose of identifying Claude’s genuine works from
forgeries, or from drawings wrongly attributed to the master. They are all printed in a warm
bistre colour to aid the resemblance ... The catalogues in each volume give a comprehensive
description of each drawing, indicating also for whom they were executed, which pictures
were painted from them, and the ownership at the date of publication of the book - in short,
a real catalogue raisonné” (Abbey).
Abbey Life 200; Lowndes II, p.1398
(#26090) $ 19,500
81 DANIELL, Thomas (1749-1840) and William DANIELL (1769-1837).
A Picturesque Voyage to India; by the way of China.
London: Printed for Longman, Hurst, Rees, and Orme, Paternoster-Row; and William Daniell,
no. 9, Cleveland-Street, Fitzroy-Square. By Thomas Davison, Whitefriars, 1810 [watermarks
dated 1808-1809]. Large quarto (13 3/4 x 10 1/2 inches). Mounted on guards throughout. 50
hand-coloured aquatint plates on card, drawn & engraved by Thomas and William Daniell.
Contemporary diced russia, covers bordered with gilt rules, rebacked to style, flat spine
divided into compartments with gilt fillets, lettered in the second compartment, the others
with a repeat decoration in gilt, period marbled endpapers. Provenance: Sir Andrew Vincent
Corbet, 2nd Baronet (armorial bookplate).
The rare hand-coloured first edition of this finely-illustrated account of the Daniells’ voyage to
China and India.
In 1784, Thomas Daniell received permission from the East India Company to travel to India
“to follow his profession of an engraver.” He was accompanied by his nephew, William Daniell.
They travelled aboard the Atlas bound for China and continued to Bengal in a smaller vessel,
reaching India by early 1786. Their travels both to and in India resulted in some of the finest
illustrations to come before the public and their work was - and remains - greatly in demand.
A Picturesque Voyage to India records their journey from England. Starting from Gravesend,
via Beachy Head to Madeira (2 plates), the crossing the equator and then on via the Cape of
Good Hope (2 plates) to the East Indies (10 plates) to China (23 plates) including Macao
and Canton, then back via the Straits of Malacca (2 plates) to Bengal and Calcutta (5 plates).
The group of images of coastal China form a particularly valuable record of the area as it was
beginning to open up to the West, and pictures of Bengal and Calcutta include one of the
Daniell’s most famous images: “Calcutta from the Garden Reach”. It is also one of the rare
instances in which the image was re-worked to include new information gathered from a
drawing made at a later date by another artist, for certain of the buildings shown were not in
existence during the Daniells’ time in India. The final plate shows the “Old Fort Gaut” which
was to become notorious almost half a century later as the site of the “black hole of Calcutta.”
Abbey Travel II. 516; Archer p12; Colas 797; Lipperheide 1523; Sutton 19-20; Bastin & Brommer 70.
(#28799) $ 14,000
82 GALE, William F. (florist and gardener); and George A. SOLLY (publisher).
Designs for Flower Beds.
Springfield, Massachusetts: George A. Solly & Son, 1887. Oblong 4to (7 3/4 x 9 3/4 inches).
54 plates (9 chromolithographed). 1p. of ads in the rear. Publisher’s purple cloth, upper cover
lettered in gilt, expertly rebacked to style.
Scarce American designs for fancy flower beds, illustrated with chromolithographed plates.
“The increased interest in ornamental gardening has induced us to put in book form a
number of designs suitable for all kinds of grounds, park and cemeteries ... With many it is a
difficult task to lay out a carpet bed, or fancy design on the lawn, and perhaps more difficult
to choose the proper plants to harmonize, so as to give the best effects. The object of these
drawings is to assist gardeners and amateurs, and to enable them to select the proper plants
for their work. It is expected that this book will supply a long felt want, as it is the first and
only publication entirely devoted to fancy flower bed designs” (Introduction).
(#29524) $ 2,850
83 HEPPLEWHITE, George (1727-1786); and
Alice HEPPLEWHITE.
The Cabinet-Maker and Upholsterer’s Guide;
or, Repository of Designs for Every Article of
Household Furniture, in the newest and most
approved taste.
London: I. and J. Taylor, 1788. Folio (13
1/2 x 9 inches). [6], 24pp. 126 engraved
plates after designs by George Hepplewhite
(numbered 1-125, plus 78 bis; number
124/125 being a double-page plate). (Expert
restoration). Twentieth century crushed
morocco gilt, bound by Wood of London,
coveres paneled in gilt and black, spine with
raised bands in six compartments, lettered
in the second and third, the others with a
repeat decoration in gilt and black, marbled
endpapers, gilt edges, housed in a quarter
morocco slipcase. Provenance: John Davis
(early signature on title).
First edition of Hepplewhite’s famed pattern
book of furniture design.
“In 1788, Hepplewhite’s widow published the Cabinet-maker and Upholsterer’s Guide. Its
aim was ‘to follow the latest and most prevailing fashion’ and to adhere ‘to such articles only
as are of general use.’ The intended audience included both the cabinetmaker or upholsterer
and the client (the ‘mechanic’ and ‘gentleman’ as Alice Hepplewhite put it). There followed
a slightly revised edition in 1789 ... Hepplewhite’s Guide was the first major pattern book
of furniture to be published since the third edition of Chippendale’s Gentleman and
Cabinetmaker’s Director ... Hepplewhite’s designs most closely compare with [Robert and
James] Adam’s drawings of the late 1780s, sharing their fashionably attenuated quality of
design. The furniture is slender, and most of the decoration inlaid or painted rather than
carved” (Grove Encyclopedia of Decorative Arts).
The first edition is complete with 126 plates; the 1789 edition included an additional bis
plate (9) and the 1794 third edition included yet another additional bis plate (40*), as well
as new engravings of several others. The first edition is considerably rarer than those issued
subsequently.
Brunet III, 105; Millard, British 30 (third edition).
(#29959) $ 6,000
84 KIPLING, Rudyard (1865-1936).
Kim. Translated into French by Louis Fabulet and Charles Fountaine-Walker.
Paris: Librarie Delegrave, [1921]. Thick large quarto (12 3/4 x 10 inches). 119 illustrations
(103 text; 16 full-page). [Extra-illustrated with:] 121 original watercolour studies and 118
preliminary ink line or wash drawings by Charles Fouqueray, each inlaid and mounted on
guards, publisher’s prospectus at the end. Green crushed morocco by Charles Meunier,
boards with sunken poly-chromed cuir-ciselé panels of earthen tones, the upper panel being
a portrait of Kim with Meuniers incised signature and the date 1924 in lower left corner, the
lower panel comprising a stylized array of Indian foliage, guards and doublures of dark blue
silk brocaded to a lotus pattern, the upper doublure gilt-stamped CH. MEUNIER 1924, wide
gilt-ruled turn-ins, marbled endleaves, wrappers, edges gilt; green morocco-backed chemise;
marbled slipcase edged in morocco. Provenance: Dr. Ernest Cadgene (sold Parke-Bernet, 30
April 1951, lot 410).
Limited edition, copy number 1 of 25 on papier japon: a unique copy, profusely extra-illustrated
with the original drawings and watercolours by Fouqueray and elaborately bound by Meunier.
The edition is a masterpiece of French bibliophilic integration of text, illustration and binding.
Meunier (1866-1940), whose most renowned style was the cuir-ciselé found here, achieves
his highest art in this bindings stylized carvings of Kim and Indian-inspired motifs. The
present binding is considered one of the finest examples of his use of cuir-cisele.
Fouqueray (1869-1956), studied at the Ecole des Beaux Arts under Alexandre Cabanel and
Fernand Cormon. On a tour around the world, he visited India, which no doubt inspired the
illustrations commissioned for the present illustrated edition of Kipling’s Kim.
(#29647) $ 60,000
85 LAHDE, Gerhardt Ludwig (1765-1833).
Das tägliche Leben in Kopenhagen oder characteristische Figuren.
Copenhagen: C. Steen, [circa 1820]. 4to (11 x 8 1/2 inches). Letterpress title and list of
plates. 35 hand-coloured stipple engraved plates. 19th century red morocco, by Charles de
Samblanx, covers elaborately panelled in gilt, spine with raised bands in six compartments,
lettered in the second, the others with a repeat decoration in gilt, marbled endpapers, gilt
edges. Provenance: Jules Albert Baudoin Marie Ghislain, Vicomte de Johnghe (armorial
bookplate).
Lovely example of a rare Danish color plate costume book of the local trades and military.
“Civil and military costumes of Denmark, street vendors, small merchants. Colas states there
was an edition dated 1818 [the present edition undated and without watermarks] ... The
plates in this work were also issued as part of Lahde’s Kjobenhavns Klaederdragter” (The
Exotic and the Beautiful).
The present example in a lovely binding by noted Belgian binder Charles de Samblanx.
Colas 1721; Lipperheide 1044; The Exotic and the Beautiful II:407.
(#29947) $ 7,000
86 MASON, George Henry (1761-1837).
The Costume of China, illustrated with sixty engravings: with explanations in English and
French.
London: Printed for William Miller ... by William Bulmer, 1804 [plates watermarked 1819].
Quarto (14 x 10 inches). Title and text in French and English. 60 elaborately hand-coloured
stipple-engraved plates, each within a watercolour ruled frame and with the backgrounds
entirely drawn in manuscript and and hand coloured, the plates by Dadley after Pu-Qùa
of Canton, each with accompanying text leaf. Contemporary straight grain green morocco,
covers with a wide border in gilt and blind, expertly rebacked to style, period brown
endpapers, gilt edges.
An extraordinary example of Mason’s famous illustrated survey of China, on thick paper with
the plates elaborately hand coloured with full backgrounds painted in behind each figure: the
rarest and most desirable issue.
First published in 1800, Mason’s text is based on his own experiences in Canton in 1789-1790.
At the time he was there, foreigners were not allowed access to the China beyond the borders
of the visitor’s compound. However, Mason, a Major in the 36th Regiment of Foot, travelled
to Canton for several months while on leave from his station in Madras, and was able to gain
some information from interacting with the Hong merchants. The work is given structure
by the series of plates, based on original drawings by Pu-Qua, which Mason purchased in
Canton. Each plate is accompanied by a commentary in which Mason draws on either his
own experiences or the accounts of earlier writers such as Staunton and Nieuhoff.
The present example is a rare deluxe issue, on thick paper, with much more detailed and
beautiful hand colouring than the regular issue, and with added contemporary watercolour
backgrounds behind the hand-coloured stipple-engraved figures, and with ink rules around
each plate. The landscapes and interiors, not found on the regular issue, are all carefully
executed with evident care taken to ensure that colouring, architecture and general ambiance
is appropriate for the subject of each plate. The existence of this deluxe issue is unknown to
bibliographers, including Lowndes, Allibone, Abbey, Colas, Lipperheide, Tooley, etc. We
have previously encountered similar deluxe issues of Alexander’s Costume of Turkey and
Moleville’s Costume of the Hereditary States of the House of Austria. Such deluxe editions
are believed to have been done by the publisher for presentation; that we have been unable
to locate contemporary advertisements for this issue being offered for sale would seem to
support that theory.
Abbey Travel II, 533; Colas 2009; Lipperheide 1520; Tooley 320; China on Paper 12; Cordier III:1858.
(#29702) $ 12,500
87 [NAPOLEON) - Manner of Jacques Louis DAVID.
[Album containing 39 mounted drawings, being scenes of Napoleon in Italy, titled on the upper
cover:] Pen Sketches of Napoleon I.
[Italy: circa 1820]. Oblong quarto (8 1/8 x 10 2/4 inches). 39 pen-and-ink and wash
drawings over graphite, with black ink borders, each mounted recto and verso onto 20 cards,
the drawings each approximately 4 x 5 1/2 inches. Contemporary black morocco, covers
elaborately panelled in gilt, title in gilt on the upper cover, spine with raised bands in five
compartments, each compartment decoratively tooled in gilt, floral patterned endpapers, gilt
edges. Provenance: W.F.H. (initials in gilt on the lower cover); early Rome bookseller’s ticket
on the front endpaper.
Original drawings of Napoleon in Italy.
A lovely album with early and exceptionally fine pen-and-ink and wash drawings, depicting
scenes from the Napoleonic era in Italy.
The sketches are captioned as follows: [1] Napoleone all’ Isola di Burano [2] Morte del Duca de
Montebello [3] Battaglia di Wagram, 1809 [4] Resa di Montova, 1796 [5] Provera prigioniero,
1796 [6] Bonaparte Presidente della Republica Italiana [7] Assassinio del Duca di Bery [8]
Napoleone in Vienna, 1809 [9] Napoleone Bonaparte relagato compochi sous ... all’ Isola Saint
Elena [10] Lo Italia del Secolo XIX [11] Battaglia di Lipsia nel 1813 [12] Feste Solemni in
Milano, 1797 [13] Tratto di Campo Formio, 1797 [14] Acciizione del General Duphoth, 1798
[15] Magdonald alla Trebbia, 1799 [16] Concordato di Religione [17] Bonaparte a Parigi, 1797
[18] Convenzione di Alessandria, 1800 [19] Fine della giornata di Marengo [20] Consiglio
dei Cinquescento, 1793 [21] Joubert a Noir, e sua Morte, 1799 [22] Republica Cisalpina, 1797
[23] Spoglio degli oggetti d’arte, 1796 [24] Tratto di Tolentino, 1797 [25] Republica di San
Marino, 1797 [26] Tratto di Luno Villa [27] Lusighe a dotti, e Letterati [28] Atta di Liberta
in Campo Vaccino [29] Menou nel Piemonte unito alla Franzia [30] Ingresso in Milano [31]
Bonaparte ordina un Monumento a Marengo [32] Convenzione Nazionale, 1793 [33] Feste
in Venezia, 1797 [34] Macchina Infernale [35] Monte del Principe, Pourmiatoskis, 1813 [36]
Battaglia di Waterloo [37] Battaglia di Ligny [38] Monumento decretato a Bonaparte [39]
Bonaparte a Ponte di Lod.
(#29316) $ 18,500
88 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 after Remington, Frost, Cozzens and others. Expertly bound to style in full dark red
straight grain morocco.
A fine copy of this rare large-format work on sport in late 19th-century America, including
Frederic Remington’s first 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.
The present work includes six angling plates (three of fly-fishing), four plates of game-bird
hunting and five of hunting larger game. Each of the fifteen subjects is first described in
general terms on a single leaf of text, followed by a second leaf giving a first-hand account
of catching or shooting the subject, followed by a chromolithograph illustrating the firsthand 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.
The 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 fishing. Henry Sandham.
4.Fly-fishing 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 Bluefish. 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.
The 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
The Complete Prints New York, 1990 pp.152-3) with the comment that they are the first and
second Remington prints to appear in color. They 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 The 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
89 REPTON, Humphry (1752-1818).
Sketches and Hints on Landscape Gardening. Collected from designs and observations now
in the possession of the different noblemen and gentlemen, for whose use they were originally
made. The whole tending to establish fixed principles in the art of laying out ground.
London: printed by W. Bulmer & Co., sold by J. & J. Boydell and G. Nicol, [1794]. Oblong
folio (10 1/4 x 14 inches). 10 hand-coloured aquatints engravings (1 folding, 3 double-page),
each with one or more overslips, and 6 aquatint plates printed in black with a single tint
added (4 with one or more overslips), 2 wood-engraved illustrations, 1 wood-engraved
tailpiece, bound without the half title. Expertly bound to style in 18th-century half russia over
contemporary marbled paper-covered boards, the flat spine divided into six compartments
by fillets and a Greek-key roll, red morocco lettering-piece in the second compartment, the
others alternately decorated with a large centrally-placed vase and flower spray tool, with
foliate cornerpieces and a large centrally-placed goblet and birds tool with foliate cornerpieces,
gilt edges. Provenance: early crowned ‘C’ monogram at foot of title.
The first of Repton’s three great works on landscape gardening.
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. These 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. The present work is made up to a large degree of extracts from the Red Books
of 57 houses which Repton had been called upon to improve. A list of these houses, their
location and their owners is given in a valuable two-page list towards the front of this volume.
The work is broken down into various chapters: Concerning Buildings, Concerning Water,
Concerning Approaches, etc. In each chapter Repton selects the relevant section from each
Red Book that is helpful to the point he is trying to make.
In addition to the specific ideas that he is trying to convey, Repton also enters the fray on behalf
of “Capability” Brown. The theoreticians, Payne Knight and Uvedale Price, had both written
disparagingly of Brown’s work and Repton here answers their arguments, a lengthy letter that
Repton wrote to Price in July 1794 is quoted in full. The work ends with an intriguing list
of sixteen “Sources of pleasure in Landscape Gardening” and William Wyndham’s letter to
Repton in support of his theories: “Places are not to be laid out with a view to their appearance
in a picture, but to their uses, and the enjoyment of them in real life, and their conformity
to those purposes is that which constitutes their true beauty: with this view gravel walks,
and neat mown lawns ... are in perfect good taste, and infinitely more conformable to the
principles which form the basis of our pleasure in these instances, than the docks and thistles,
and litter and disorder, that may make a much better figure in a picture.”
The plates echo the watercolours with which Repton invariably illustrated the Red Books.
He makes extensive use of movable flaps or slides - generally to explain the effect he is trying
to create by showing the property before his improvements (with the flap down) and after,
with the flaps lifted. The quality of the aquatints is exceptional, and the folding view of the
Duke of Portland’s house Welbeck Abbey in Nottinghamshire is particularly interesting as it
apparently shows Repton and his assistants at work on a survey of the estate.
Abbey Scenery 388; Archer 280.1; ESTC t073696; Henrey III, 1269; RIBA III, 405; Tooley 400.
(#17339) $ 24,000
90 ROBERTS, David (1796-1864).
The Holy Land, Syria, Idumea, Arabia ... From drawings made on the spot ... With historical
descriptions, by The Revd. George Croly.
London: F.G. Moon, 1842-1843-1849. 3 volumes. 3 tinted lithographic titles, lithographic
portrait of Roberts by C. Baugniet on india paper mounted, 120 tinted lithographic plates (60
full-page, 60 half-page vignettes), all drawn on stone by Louis Haghe after David Roberts,
one engraved map.
[With:] David ROBERTS. Egypt & Nubia, from drawings made on the spot ... With historical
descriptions by William Brockedon. London: F.G. Moon, 1846-1849-1849. 3 volumes. 3 tinted
lithographic titles, 121 tinted lithographic plates (61 full-page, 60 half-page vignettes), all
drawn on stone by Louis Haghe after David Roberts, one engraved map.
2 works in 6 volumes, large folio (23 11/16 x 17 1/4 inches). Contemporary full red morocco,
bound by John Kelly of London, covers tooled in blind and with wide gilt borders, expertly
rebacked to style, spines with wide semi-raised bands in seven compartments, lettered in the
second and fifth, the others with a repeat decoration in gilt, marbled endpapers, gilt edges.
Very fine copies of the tinted edition of Roberts’ monumental works on the Middle East: the Holy
Land, Syria, Idumea, Arabia and Egypt. These two works constitute the greatest lithographically
illustrated work issued in the 19th century.
Roberts’ masterpiece was issued in 41 parts over seven years. It is beautifully lithographed by
Louis Haghe, to whom Roberts paid tribute in glowing terms: “Haghe has not only surpassed
himself, but all that has hitherto been done of a similar nature. He has rendered the views
in a style clear, simple and unlaboured, with a masterly vigour and boldness which none
but a painter like him could have transferred to stone.” Abbey regarded the work as “one
of the most important and elaborate ventures of nineteenth-century publishing, and ... the
apotheosis of the tinted lithograph.”
David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed
to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had
been completed, carrying out work on imitation stone-work and paneling at Scone Palace
and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon
theater in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821
to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists
exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830
Roberts was firmly established as a topographical artist and was able to give up his theatre
work. In these early years he toured the continent and Scotland, and in 1832-33 visited
Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic
adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year
in Cairo, visiting the numerous tombs and sites. In February of the following year he set out
to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza,
and then on to Jerusalem, concluding his tour spending several months visiting the biblical
sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of
his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of
Scripture History, paying Roberts £ 3,000 for copyright to the sketches, and for his labour in
supervising Louis Haghe’s lithography. Both the exhibition of his original watercolours and
the subsequent published work were an immediate success and confirmed his reputation as
an architectural and landscape artist of the highest order.
Abbey Travel I, 272 & II, 385; Blackmer 1432; Gay 25; Ibrahim-Hilmy II,p.176; Lipperheide Ma27; Röhrict
1984; Tobler p. 229; Tooley 402.
(#28437) $ 85,000
91 [THOMSON, John (1837-1921) and Adolphe SMITH HEADINGLEY (1846-1924)].
Street Incidents.
London: Sampson Low, Marston, Searle & Rivington, 1881. 4to (10 5/8 x 8 inches). [4], 45100pp. 21 woodburytypes, each with printed caption and red ruled border. Publisher’s green
pictorial cloth, decoratively stamped in gilt and black (expertly recased).
“The first photographic social documentation of any kind” (Gernsheim).
Thomson’s photographs in Street Life in London and the present Street Incidents , and the
commentary upon the images by Thomson and Adolphe Smith, depict a London in which
life is a harsh and continuous struggle. The characters on view here are familiar to us more
from Dickens’ novels or from an idea of the Whitechapel of Jack the Ripper than from any
nostalgic image of a strait-laced or patrician Victorianism. Thomson and Smith are, however,
sympathetic to the objects of their study and seem intent on cataloguing the variety of types
to be found rather than attempting any Barnum-like freakshow. As Thomson himself writes:
“The precision and accuracy of photography enables us to present true types of the London
poor and shield us from the accusation of either underrating or exaggerating individual
peculiarities of appearance.”
It is “a pioneering work of social documentation in photographs and words ... one of the most
significant and far-reaching photobooks in the medium’s history” (Parr & Badger).
This copy the second abridged issue, with variant title (i.e., renamed Street Incidents) and
complete with 21 plates and text leaves numbered 45-100. The history of the production of
this issue is not well known. However, internal evidence, when compared to the first edition
of Street Life , which contains 36 photographs and text leaves numbered 1-100, reveal that
Street Incidents comprises everything from Street Life, both text and photographs, following
page 44. The only changes would appear to be additional plate numbers below the captions,
as well as page numbers above the images. It would seem likely that the publisher had a
remainder of the latter portion of Street Life, and re-issued what was available with a new title,
without credit to Thomson, as a new work.
The images in Street Incidents comprise: A Convict’s Home; The Wall Worker; Covent Garden
Labourers; Halfpenny Ices; Black Jack; The Cheap Fish of St. Giles; Cast-iron Billy; Worker’s
on the “Silent Highway”; The Street Fruit Trade; The London Boardmen; The Water-cart;
“Mush-Fakers” and Ginger-Beer Makers; November Effigies; “Hookey Alf ” of Whitechapel;
The Crawlers; Italian Street Musicians; The Street Locksmith; The Seller of Shell-fish; Flying
Dustmen; Old Furniture; The Independent Shoeblack.
Cf. Hasselblad 42; cf. Gernsheim, p. 447; cf. Truthful Lens 169; cf. Parr & Badger I:p.48.
(#28775) $ 12,500
MISCELLANY
92 [AL-MARGHINANI,
Burhan al-Din al-Farghani (1135-1197)]; - Charles HAMILTON,
translator (1753-1792).
The Hedàya, or Guide; A Commentary on the Mussulman Laws: Translated by the Order of the
Governor-General and Council of Bengal.
London: T. Bensley, 1791. 4 volumes, 4to (10 1/4 x 8 inches). lxxxix, (1), xii, 561, [2-errata]
pp.; viii, 727, (1), [2-errata]; viii, 609, (1), [2-errata]; lxxxix, (1), xii, 561, (1), [2-errata]. Errata
leaf in rear of each volume. Expertly bound to style in half calf over period marbled paper
covered boards, flat spine divided into six compartments with gilt roll tools, black morocco
lettering piece in the second, the others with a repeat arabesque decoration in gilt.
First edition in English of al-Hidayah: the authoritative guide to Islamic jurisprudence.
Commonly referred to as al-Hidayah or The Guidance, this work originated as a 12th-century
Hanafi work by Shaykh al-Islam Burhan al-Din al-Farghani al-Marghinani (1135-1197) and
is considered an authoritative guide to Islamic law among Muslims throughout the world. The
Hidayah presents a legal tradition developed over many centuries and represents the corpus
of Hanafi law in its approved and preferred form. The primary reason for its popularity is the
reliability of its statements and the soundness of its legal reasoning. It is arguably the most
popular and important work in fiqh literature.
Hamilton’s English translation is based on a Persian translation by Ghulam Ya Khan from
the original Arabic version. Intended for a British audience, chapters relating to rituals
were omitted; however his coverage of contracts, torts and criminal law is more complete.
Hamilton explains in his preface: “The permanence of any foreign dominion (and indeed,
the justification of holding such a dominion) requires that a strict attention be paid to ease
and advantage, not only of the governors, but of the governed; and to this great end nothing
can so effectually contribute as preserving to the latter their ancient established practices,
civil and religious and protecting them in the exercise in their own institutes ... they must
be infinitely more acceptable than anything we could offer; since they are supported by the
accumulated prejudice of ages, and, in the opinion of their followers, derive their origin from
the Divinity himself ” (Preliminary Discourse). The understanding of Islamic law was critical
to the colonial administration of India, and Bengal in particular, which had a very large
Muslim population, and this work was intended to enable English officials to understand
local proceedings. A second edition of Hamilton’s translation was published in 1870, though
the first edition is rare.
(#29370) $ 11,000
93 ALBUMASAR [Ja’far ibn Muhammad Abu Ma’shar al-Balkhi] (A.D. 787-886).
Introductorium in astronomiam.
Augsburg: Erhard Ratdolt, 7 February 1489. Small 4to (8 1/2 x 5 3/4 inches). Translated from
Arabic into Latin by Hermannus Dalmata. 70 leaves. Gothic letter. 46 woodcuts (2 half-page,
the remainder smaller) mainly of zodiacal figures and including 6 astronomical diagrams,
opening 8-line woodcut initial, 7-line and smaller initials throughout. Expertly bound to
style in nineteenth century green straight grain morocco, covers elaborately bordered in gilt,
spine with raised bands in six compartments, lettered in the second compartment, the others
with a repeat overall decoration in gilt, period brown paper endpapers.
Rare first edition of this important illustrated work of a noted Arabian astronomer.
Abu Ma’shar (787-886), born in Balkh, was the most renowned astrologer writing in Arabic
in the 9th century, and was part of the group of intellectuals who served the Caliph alMa’mun (813-833) in Baghdad. The present work is a slightly abridged translation of his
Kitab al-madkhal al-kabir ‘ala ‘ilm ahkam al-nujum (“Great Introduction to the Science of
Astrology”), written in 849/850. The work was translated twice in the first half of the 12th
century and was one of the earliest vehicles for the transmission of Aristotelian concepts into
Latin before the actual translations of Aristotle.
The work presents the philosophical and historical justifications of astrology, and a survey
of the characteristics of the Signs, Planets, Sun and Moon, along with the Aspects (angular
relations between them). The 15 cuts showing allegorical figures of the planets are reduced
versions of seven woodcuts used by Ratdolt in Johannes de Thwrocz, Chronica Hungarorum
(Augsburg: E. Ratdolt for Theobaldus Feger, 3 June 1488, Goff T-361). The cuts include 12
large and 12 small zodiacal figures, 6 astronomical tables, and 15 planetary figures printed
from 7 blocks. The whole is a beautifully composed book, set in a semi-Gothic font and with
white on black initials from two alphabets.
Albumasar’s work would gain considerable attention during the Middle Ages and have a
profound influence on Muslim intellectual history. The present first edition, printed by
Erhard Ratdolt in Augsburg in 1489, is scarce; a second edition followed, printed in Venice
in 1506. A fine, large example.
BMC ii, 382; Goff A-359; GW 840; Hain 612; Schreiber 3075.
(#29214) $ 35,000
94 [BRADLEY, Richard (1688-1732)].
The Country Housewife and Lady’s Director in the Management of a House, and the Delights
and Profits of a Farm. Containing Instructions for managing the Brew House and Malt Liquors
in the Cellar; the making of Wine of all Sorts ... The Sixth Edition, with Additions ... [Bound
with] ... Part II. Including a Great Variety of the most curious Receipts ...
London: Printed for D. Browne, 1736; 1732. Two parts in one, 8vo (7 5/8 x 4 5/8 inches). xi,
[1], 187, [1], [8]; viii, 188., [10], [2]pp. [pages 179-188 of the second part misbound preceding
the first part index]. Engraved frontispiece by Sturt in the first part, 12 woodcut illustrations
in the second. Early manuscript recipe for elderberry wine on the front endpaper. Modern
brown morocco, spine with raised bands in six compartments, black morocco lettering
pieces. Provenance: Elizabeth Pothill (early signature on title).
Rare early English agricultural manual intended for women, including instructions on wine
making and recipes for cooking a variety of dishes.
Bradley “deserves pre-eminent notice as one of the most voluminous writers upon agriculture
and gardening” (McDonald). The first part of the present work was first published in 1727
and the second part, which includes its own title dated 1732, would appear to be here in its
first edition. The second part includes recipes for a variety of dishes, including among the
earliest to use pineapple as an ingredient, and is illustrated with instructions for trussing
poultry. ESTC does not record a copy complete with both parts.
ESTC T34242 (first part); Fussell, p. 111; McDonald, pp. 170-172; Bitting pp. 55-56. Not in Henrey.
(#29905) $ 1,250
95 CHELONIIDAE Press. - Edgar Allan POE (1809-1849).
The Raven by Edgar Allen Poe Etchings and wood engravings by Alan James Robinson.
[Easthampton, Massachusetts: Cheloniidae Press, 1980]. 2 volumes (including a chemise
with an additional suite of plates), folio (15 x 11 inches). Bound volume: title in red and
black with integral wood-engraved vignette of a quill pen, text in black with one red initial,
colophon leaf signed and numbered with text in red around a wood-engraved vignette of the
Raven’s head. 5 etched plates by Robinson, each titled and signed in pencil by the artist, and
2 wood-engravings (duplicates of those printed on the title and colophon leaf) signed and
numbered in pencil, printed on thin small format Kitakata paper; Chemise: an additional
suite of the 5 etched plates, unbound, signed, numbered and titled in pencil, extra-illustrated
with an original pencil portrait of Poe signed by Robinson; an original pencil drawing of the
raven’s head signed by Robinson (on a bi-folium including the title-page in red and black);
a 1p. printed prospectus signed in pencil by Robinson; a 1p. note signed by Robinson on
Cheloniidae Press headed note-paper; a 1p. photocopied wholesale price list. Bound volume:
black and red marbled rag paper-covered boards, the backstrip titled in gilt; Chemise:
unbound as issued in original black cloth chemise. All contained within the original red
morocco-backed black cloth box, spine lettered in gilt.
This copy is one of five artists proofs which contain an extra suite of plates, and this particular
copy also contains two additional drawings
A unique copy with original drawings of the first book from Alan James Robinson’s
Cheloniidae Press: a thoughtful design, beautiful plates and illustrations, immaculate
execution. In this copy the bound volume is numbered 5/100 and is signed by Robinson,
the unbound additional suite of etchings are numbered 17/50, but as Robinson’s typed note
makes clear, this is actually one of only five “artists proofs” which can be recognized by the
“red leather spine to the accompanying box.”
According to the prospectus: “This book was designed by Alan James Robinson. The five
original etchings were printed by the artist at the Cheloniidae Press ... Harold McGrath printed
the text ... and the two wood engravings at The Hampshire Typothetae in Northampton,
Massachusetts. The type ... is 24pt. Centaur, all hand-set. The edition, hand-bound by David
Bourbeau at Thistle Bindery, Northampton, has a special marbled cover design by Stephen
Auger. The book is printed on Arches Cover in an edition of 125 copies, signed by the artist
and numbered 1-100 with a deluxe edition I-XXV ... A separate edition of fifty prints has
been taken from each [etched] plate and an edition of two hundred from each of the two
wood engravings.”
“All of the books are designed and illustrated by Robinson, however, it is a unique collaborative
press. The finest craftsmen and the highest quality materials have been sought out to create
works of the utmost integrity and beauty ... The Press endeavors to create beautiful yet
scholarly renditions of contemporary and antiquarian texts. The books are produced as they
might have been one hundred or more years ago, using handmade inks, marbled endpapers,
hand-set type, and handsewn design bindings. The works are printed by Harold P. McGrath,
a Master Printer for over 55 years who has worked with such artists as Leonard Baskin, Fritz
Eichenberg, Clare Leighton, and Barry Moser. The result of this attention to detail are works
of art ...” (Alan James Robinson’s website).
(#24056) $ 8,250
96 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 affixed to front
pastedown, and the invitation to the book’s publication party at Princeton affixed 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 unaffected). Provenance: Thomas A. Stone (typed
address slip on Dard Hunter letterhead, laid in).
The “author’s magnum opus.” - One of 200 numbered copies signed by Hunter, this copy
numbered one hundred twenty-eight.
The book is printed on Dard Hunter’s paper, and with type cut by Dard Hunter, Junior. “The
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 first paper mill in each state
from 1690 until 1811, six years prior to the introduction of the first paper machine into the
United States. There are in the book 123 facsimiles of documents and watermarks and fortytwo reproductions of labels used by these early paper manufacturers. The 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
97 JOHNSON, Samuel (1709-1784).
A Dictionary of the English Language: in which the words are deduced from their originals,
and illustrated in their different significations by examples from the best writers. To which are
prefixed, a history of the language, and an English grammar.
London: Printed by W. Strahan for J. & P. Knapton, T. & T. Longman, C. Hitch & L. Hawes,
A. Millar, and R. & J. Dodsley, 1755. 2 volumes, folio (16 3/8 x 9 3/4 inches). Titles in red
and black, all but the preface set in two columns. Expertly bound to style in half 18th century
russia over contemporary marbled paper covered boards, spines with raised bands in seven
compartments, ruled in gilt on either side of each band, red and black morocco lettering
pieces in the second and third compartments.
First edition of Johnson’s Dictionary. This work has at various times been called “the most
important British cultural monument of the eighteenth century” (Hitchings); “the only dictionary
[of the English language] compiled by a writer of the first rank “ (Robert Burchfield) and first
genuinely descriptive dictionary in any language. “Johnson’s writings had, in philology, the effect
which Newton’s discoveries had in mathematics” (Webster).
“It is the fate of those that toil at the lower employments of life, to be rather driven by the
fear of evil, than attracted by the prospect of good; to be ... punished for neglect, where
success would have been without applause, and diligence without reward. Among these
unhappy mortals is the writer of dictionaries ... Every other author may aspire to praise; the
lexicographer can only hope to escape reproach” (Johnson, preface to the present work).
Samuel Johnson’s monumental work, which drew on all the best ideas and aspects of earlier
dictionaries, was published on April 15, 1755 in an edition of 2000 copies. The price was a
high one £4 10s, or £3 10s to the trade. The group of publishers whose names appear in the
imprint were joint proprietors, having paid Johnson £1575 in installments for copy which
took him eight years to complete, although in the final months publication was held back
for the granting of his Oxford M.A. (Feb. 20, 1755). Some of Johnson’s advance was used
to rent the well-known house in 17 Gough Square, where the garret became his “dictionary
work-shop.” He called on the assistance of six amanuenses, five of whom, Boswell proudly
records, were Scotsmen, and who were almost derelict when he hired them. “With no real
library at hand, Johnson wrote the definitions of over 40,000 words...illustrating the senses in
which these words could be used by including about 114,000 quotations drawn from English
writing in every field of learning during the two centuries from the middle of the Elizabethan
period down to his own time” (W. Jackson Bate, Samuel Johnson (New York, 1977), p.247. “It
is the dictionary itself which justifies Noah Webster’s statement that Johnson’s writings had,
in philology, the effect which Newton’s discoveries had in mathematics. Johnson introduced
into English lexicography principles which had already been accepted in Europe but were
quite novel in mid-eighteenth-century England. He codified the spelling of English words;
he gave full and lucid definitions of their meanings (often entertainingly colored by his High
Church and Tory propensities); and he adduced extensive and apt illustrations from a wide
range of authoritative writers...but despite the progress made during the past two centuries
in historical and comparative philology, Johnson’s book may still be consulted for instruction
as well as pleasure” (PMM).
The Dictionary was issued with two titlepages, identifying the volumes as “I” and “II,” and
is usually divided between the letters “K” and “L,” as here. Although Fleeman estimates that
“more than half ” of the 2000 copies survive, their condition is extremely variable. The great
weight of the work ensured that when standing upright and even when stoutly bound, the
covers were likely to detach with time. Once the covers were loose, damage to the titles and
the other outer leaves was almost inevitable.
Courtney & Smith p. 54; Chapman & Hazen p. 137; Fleeman Bibliography I, p.410; Grolier English 50; cf. H.
Hitchings Defining the World (ref.); PMM 201; Rothschild 1237; Slade & Kolb Johnson’s Dictionary pp.105113; cf. William B. Todd ‘Variants in Johnson’s Dictionary, 1755’, pp.212-3 in The Book Collector vol.14,
number 2, summer 1965.
(#26355) $ 20,000
98 MARIOTTE, Edme (1620-1684).
Oeuvres de M. Mariotte, de l’Academie Royale des Sciences; comprenant Tous les Traitez de
cet Auteur, tant ceux qui voient deja paru séparément, que ceux qui n’avoient pas encore été
publies; imprimées sure les exemplaires les plus exacts et les plus complets: revues et corrigées de
nouveau. Nouvelle Edition.
Paris: Charles-Antoine Jombert [overslip], 1740. 2 volumes, 4to (10 x 7 1/2 inches). Titled
in red and black. 26 engraved folding plates. Contemporary mottled calf, spine with raised
bands in six compartments, red morocco lettering piece in the second, the others with a
repeat decoration in gilt, marbled endpapers.
Second edition of the collected scientific works of Mariotte, who is credited with introducing
experimental physics into France.
“Honored as the man who introduced experimental physics into France, Mariotte (1620-84)
played a central role in the work of the Paris Academy of Sciences shortly after its formation
in 1666 until his death in 1684” (D.S.B.). This collected edition of his works, first published in
1717, includes his study of the movement of bodies in a resisting medium, the laws of impact
and the nature of air, the latter detailing the inverse relationship of volume and pressures in
gases, i.e. Boyle’s Law.
Honeyman 2156
(#29748) $ 1,350
99 MELVILLE, Herman (1819-1891).
Moby Dick, or, The Whale.
New York: Harper & Brothers, 1851. 12mo (7 1/4 x 4 7/8 inches). xxiii, [1], 635, [1], [6]pp.
Publisher’s ads in the rear. (Usual minor foxing, slight stain in the upper margin in the rear).
Publisher’s blindstamped brown cloth, spine lettered in gilt (expert restoration at joints and
spine). Housed in a dark blue morocco box.
Rare first American edition of arguably the greatest work in American literature.
The first American edition followed the three-volume English edition by a month and
contained some thirty-five passages which had been edited out of the English edition.
“[Melville’s] great book, Moby Dick, was a complete practical failure, misunderstood by the
critics and ignored by the public; and in 1853 the Harpers’ fire destroyed the plates of all of
his books and most of the copies remaining in stock [only about sixty copies survived the
fire] ... Melville’s permanent fame must always rest on the great prose epic of Moby Dick, a
book that has no equal in American literature for variety and splendor of style and for depth
of feeling” (Dictionary of American Biography).
“Moby Dick is the great conundrum-book. Is it a profound allegory with the white whale
the embodiment of moral evil, or merely the finest story of the sea ever written?” (Grolier,
American).
This example complete with the six pages of advertisements in the rear, and in the publisher’s
dark brown cloth binding, covers blind-stamped with heavy rule frame and publisher’s
circular device at center.
BAL 13664; Grolier American 60; Johnson High Spots 57; Wright II:1701
(#28839) $ 25,000
100 REPTON, Humphry (1752-1818).
An enquiry into the change of taste in Landscape Gardening. To which are added, some
observations on its theory and practice, including a defence of the art.
London: printed for J. Taylor, 1806. Octavo (8 1/4 x 5 inches). viii, 174pp. Expertly bound
to style in green straight grain morocco, covers elaborately bordered in gilt, flat spine gilt,
marbled endpapers.
First edition of this rare work by Repton, laying out his theories of landscape gardening
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. The
present work is based on the text of his Sketches and Hints on Landscape Gardening (London:
1794), as Repton explains in the Advertisement: “In compliment to the present possessors of
... [the Sketches ...], I have determined never to publish another costly edition of it with plates;
but rather to extract from it such matter as may not infer the [proposed] quarto volume,
incorporating it with such further observations on the Theory and Practice of the Art, as
have occurred from more recent practice; to which are added, answers to the attacks made
on the art by some late publications” (pp.iv-v). The final sentence refers to works by the
theoreticians Payne Knight and Uvedale Price, both of whom had written disparagingly of
Capability Brown’s work and Repton here answers their arguments.
Henrey III, 1263; RIBA III, 2731
(#29467) $ 2,350
INDEX
ABBOT, John 52
ABERCROMBIE, John 53
ALBIN, Eleazar 54
ALBUMASAR 93
AL-MARGHINANI, Burhan al-Din alFarghani 92
ATKYNS, Robert 77
AUDUBON, John James 55, 56
BENJAMIN, Asher 4
BLACKSTONE, William 5
BLIGH, William 31, 32
BODMER, Karl 6
BRADLEY, Richard 94
BROWN, John 8
BULLIARD, Pierre 57
CANVANE, Peter 68
CARWITHAM, John 9
CATESBY, Mark 58
CATLIN, George 10
CHELONIIDAE Press 95
CHIPPENDALE, Thomas 79
CLAUDE Gellée, dit le Lorrain 80
COOK, Capt. James 33, 34
CURTIS, Henry 59
DANIELL, Thomas and William 81
DENTON, Sherman Foote 60
DIGHTON, Denis 12
ELLIS, John 61
FEATHERSTONHAUGH, James D. 13
FERRARI, Giovanni Battista 62
FORSTER, Johann Reinhold 35
FORTUNE, Robert 36
FRANCKE, August Hermann 37
FRANKLIN, Benjamin 14
GALE, William F. 82
GOETHE, Johann Wolfgang von 63
HAMILTON, Charles 92
HARRIS, John 38
HEINE, Wilhelm 39
HENSON, Josiah 15
HEPPLEWHITE, George and Alice 83
HILLIARD D’AUBERTEUIL, Michel Rene 16
HORTICULTURAL SOCIETY OF LONDON
64
HUNTER, Dard 96
JOHNSON, Samuel 97
KEMPT, James 17
KIPLING, Rudyard 84
KNORR, Georg Wolfgang 65
LAHDE, Gerhardt Ludwig 85
LAUREMBERG, Peter 66
LEWIS, James Otto 18
LOUISIANA TERRITORY 19
LUYNES, Honoré T. P. Joseph d’Albert 40
MacPHAIL, James 67
MAGUIRE, Thomas Herbert 41
MARIOTTE, Edme 98
MASON, George Henry 86
MELVILLE, Herman 99
MERCATOR, Gerard 42
MONARDES, Nicolas 69
NAPOLEON 87
NEW HAMPSHIRE 20
NOVA SCOTIA, General Assembly 21
O’NEALL, John Belton 2
ORTA, Garcia da 69
PARKINSON, Sydney 44
PARSONS, Francis 22
PENNOCK, Abraham 25
POE, Edgar Allan 95
RADFORD, Lt. Oswald C. 43
REDI, Francesco 70
REMINGTON, Frederic 88
REPTON, Humphry 89, 100
RHODE ISLAND 23
RHODE, Johann Christoph 45
ROBERTS, David 90
SAGARD-THEODAT, Gabriel 24
SNETHEN, Worthington G. 1
SOUTH AMERICA 46
SPEECHLY, William 71
STAUNTON, Sir George Leonard 47
STRABO 48
SUTHERLAND, Peter Cormack 49
SWEERTS, Emanuel 72
SWEET, Robert 73
THOMSON, John 91
THUNBERG, Carl Pehr 74
TOCQUEVILLE, Alexis de 26
TOURNEFORT, Joseph Pitton de 7
VIRGINIA, Colony of 27
WALKER, J. and C. 50
WEDDELL, James 51
WIED-NEUWIED, Maximilian zu 6
WILSON, Woodrow 28
WORLIDGE, John 76