Auction Catalogue 2012

Transcription

THE HISTORIC MAPS, RARE BOOKS, NEW YORK- CENTRIC ART,
AUCTION NATURAL HISTORY WATERCOLORS & COLOR PLATE
BOOKS, AND AMERICAN AND EUROPEAN OIL PAINTINGS
AUCTION: Wednesday, December 5th, 2012
Session I lots 1 - 138L: 1 pm
Session II lots 139 - 282: 6pm
PREVIEW: Friday, November 30th through Tuesday, December 4th, 2012
12 noon - 6pm each day
LOCATION: The Arader Galleries
1016 Madison Avenue at 78th Street
New York, NY 10075
ONLINE
BIDDING: liveauctioneers.com
ABSENTEE
BIDDING: By telephone or written bid form in the catalogue. Please call
212.794.2280 to arrange
CATALOGUE: An extensive 160 page book depicting and describing the many rarities
being offered
$30 postage paid in the United States
$60 postage paid internationally
To order the catalog or get more complete information please contact
Guernsey’s
CONTENTS: Audubon ....................................................................... Lots 1 - 82
Natural History ............................................................. Lots 83 - 138L
Maps, Globes & Atlases ............................................... Lots 139 - 190
New York views and maps ............................................ Lots 191 - 250
America & European Oil Paintings ............................. Lots 251 - 282
GUERNSEY’S
108 East 73rd Street, New York, NY 10021
212.794.2280 w [email protected] w www.guernseys.com
All Elephant Folio - No Reserve
1
Plate 350:
Rocky Mountain Plover
Estimate: $1,000 - 2,000
Guidance: Sold at Christie’s, June 25, 2004 for $2,390
Plate 283:
Wandering Shearwater
Estimate: $1,000 - 2,000
2
John James Audubon
A Selection of Aquatints from “The Birds of America” , First edition engravings with original hand-color
Published in London between 1827 and 1838 by Robert Havell
Each plate approximately 39” x 26 1/2” with full margins; Approximate frame size for each: 49 1/2” x 37”
Afternoon Sale, Lot 1 - Lot 82
3
Plate 73:
Lapland Longspur
Estimate: $1,000 - 2,000
4
Plate 340:
Least Stormy Petrel
Estimate: $1,000 - 2,000
Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings
2
6
5
Plate 160:
Black-capped Titmouse
Estimate:
$1,000 - 2,000
Guidance: Sold at
Christie’s, June 25,
2004 for $3,585
Plate 103:
Canada Warbler
Estimate:
$1,000 - 2,000
Guidance: Sold at
Christie’s, June 25,
2004 for $5,975
7
8
Plate 170:
Gray Tyrant
Estimate:
$1,000 - 2,000
Plate 110:
Hooded Warbler
Estimate:
$1,000 - 2,000
10
9
Plate 4:
Purple Finch
Estimate:
$1,000 - 2,000
Plate 49:
Blue Green Warbler
Estimate:
$1,000 - 2,000
3
12
11
Plate 164:
Tawny Thrush
Estimate:
$1,000 2,000
Plate 25:
Song Sparrow
Estimate:
$1,000 2,000
Plate 157:
14
Plate 195:
Rusty Grackle
Ruby Crowned Wren
Estimate:
Estimate:
$1,000 - 2,000
$1,000 - 2,000
13
4
15
Plate 263:
Pigmy Curlew
Estimate: $1,000 - 2,000
Plate 233:
Sora or Rail
Estimate: $3,000 - 4,000
17
Plate 108:
Fox-colored Sparrow
Estimate: $1,000 - 2,000
Plate 334:
Black Bellied Plover
Estimate: $1,000 - 2,000
5
16
18
19
Plate 284:
Purple Sandpiper
Estimate: $1,000 - 2,000
20
Plate 296:
Barnacle Goose
Estimate: $2,000 - 3,000
22
21
Plate 85:
Yellow Throated Warbler
Estimate: $1,000 - 2,000
Guidance: Sold at Christie’s, June 25, 2004 for $ 2,390
Plate 10:
Brown Titlark
Estimate: $500 - 600
6
23
25
Plate 45:
Trail’s Flycatcher
Estimate: $1,000 - 2,000
Plate 19:
Louisiana Water Thrush
Estimate: $1,000 - 2,000
Plate 339:
Little Auk
Estimate: $1,000 - 2,000
Plate 99:
Cow Bunting
Estimate: $1,000 - 2,000
7
24
26
Plate 189:
Snow Bunting
Estimate: $1,000 - 2,000
27
29
28
Plate 280:
Black Tern
Estimate: $1,000 - 2,000
Plate 294:
Pectoral Sandpiper
Estimate: $1,500 - 2,500
Plate 368:
Rock Grous
Estimate: $4,000 - 7,000
8
30
31
33
Plate73:
Wood Thrush
Estimate: $2,000 - 3,000
Plate 115:
Wood Peewee
Estimate: $2,000 - 3,000
Plate 329:
Yellow Breasted Rail
Estimate: $1,000 - 2,000
Plate 209:
Wilson’s Plover
Estimate: $1,500 - 2,000
9
32
34
Elephant Folio
When John James A udubon's subscribers to the Birds of America
series received the first of
many installations of f ive
engravings, their gaze
first encountered the
striking, physically dominating, brigh tly colored American Wild
Turkey, Male. It w as like nothing they had ever seen, and th ey
were enthralled. The Wild Turkey is widely consider ed the
crowning achievement of A udubon's monumental Birds of
America. The image has come to represent not just the series in
its entirety, but to many, it symbolizes th e spirit of American
ingenuity and entrepreneurial instincts that fueled the project.
Audubon was the first to undertake the unprecedented and
ambitious task of attempting to document all bird species of the
United States, andhis tireless efforts and remarkable talent culminated in th e publication of h is Birds of America (1827-1838).
The appreciation and understanding of this work, and the enterprising, talented artist who created it, has grown steadily since the time of
its undertaking, and is t oday, in th e context of th e nation's h istorical
culture, an icon of Americana.
35
Plate 1:
Wild American Cock
William Lizars: Edinburgh, 1826
Handsomely framed
Estimate: $125,000 - $175,000
Audubon had initially selected the Scottish printer William Lizars as his publisher. The Wild Turkey was the first plate to be engr aved, and Audubon
selected it carefully, as it w ould be the first image seen by his subscribers. In
his journals he wrote of the extensive work he had put into the composition.
The bird was distinct from any European species, and so ubiquitous that
Benjamin Franklin had proposed it as the American national symbol, preferring it to the eagle. Not only is the symbolism of the Wild Turkey significant,
but artistically, it is perhaps Audubon's masterpiece. The gigantic bird appears
barely to fit within the confines of the two dimensional page, assuming a life
and vitality that impels it into the viewer's space. Lizars's masterful use of copper plate engraving adds an especially detailed and precise aspect to the image,
enhancing an appear ance of three dimensionality. The first plate to be
engraved for Audubon's magnificent Birds of America, more care was lavished in
its production than possibly an y other illustration. This quintessential
American bird, by a cornerstone American artist, represents an excellent collector of Americana. This particular example is even more remarkable because it
is one of only roughly ten that was printed by Lizars himself. After the project
was taken over by Robert Havell, 250 more examples of the Wild Turkey were
printed that retained Lizars's name on the plate. However, the images pulled
by the Scottish printer are, naturally, among the most desirable, and the most rare.
10
All Elephant Folio
Plate 261: Hooping Crane, Young [Sandhill Crane]
Handsomely framed
Estimate: $40,000 - $50,000
36
Plate 92: The Merlin [Pigeon Hawk]
Handsomely framed
Estimate: $8,000 - 10,000
37
11
38
Plate 247:
Velvet Duck
Handsomely framed
Estimate: $3,000 - 4,000
39
Plate 232 :
Hooded Merganser
Handsomely framed
Estimate: $7,000 - 9,000
12
All Elephant Folio
40
Plate 206:
Summer, or Wood Duck
Handsomely framed
Estimate: $75,000 - 90,000
41
Plate 116:
Brown Thrasher or [Ferruginous Thrush]
Handsomely framed
Estimate: $11,000 - 12,000
Guidance: Sold at Guernsey’s, 2012 for $13,420
Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color
13
All Elephant Folio
42
44
Plate 271:
Frigate Pelican (Magnificent Frigatebird)
Estimate: $12,000 - 15,000
Guidance: Sold at Christie’s, June 25,
2004 for $15,535
Plate 131:
The American Robin
Handsomely framed
Estimate: $30,000 - $40,000
Plate 31:
White Headed Eagle
Handsomely framed
Estimate: $7,000 - 10,000
No Reserve
Plate 153:
Yellow Crown Warbler
Handsomely framed
Estimate: $2,000 - 3,000
No Reserve
43
45
14
All Elephant Folio
46
47
Plate 343:
Ruddy Duck
Handsomely framed
Estimate: $5,000 - 7,000
No Reserve
Plate 62:
48
Passenger Pigeon
Estimate: $20,000 - 25,000
Guidance: Sold at Christie’s, June 25, 2004
for $28,680
Black- Bellied darter proof plate
Handsomely framed
Estimate: $30,000 - 35,000
15
49
Plate 361:
Long- tailed or Dusky Grous
Estimate: $3,000 - 4,000
50
Plate 429:
Western Duck
Estimate: $3,000 - 4,500
51
Plate 409:
Havell’s Tern
Estimate: $7,000 - 8,000
16
52
Plate 383:
Long eared owl
Estimate:
$3,000 - 4,000
Guidance: Sold
at Christie’s,
June 25, 2004 for
$4,780
53
Plate 241:
Black-backed Gull
Estimate:
$3,000 - 4,000
54
Plate 249:
Tufted Auk
Estimate: $3,000 - 4,000
17
All Elephant Folio
55
Plate 382:
Sharp Tailed Grous
Estimate: $5,000 - 6,000
No Reserve
56
Plate 371:
Cock of the Plains (Sage Grouse)
Estimate: $10,000 - 12,000
18
All Elephant Folio
57
Plate 342:
Golden-Eye Duck
Estimate: $20,000 - 25,000
58
Plate 431:
American Flamingo
Estimate: $100,000 - 120,000
19
59
Plate 26:
The Carolina Parrot
Estimate: $80,000 - 110,000
20
Audubon’s Viviparous Quadrupeds of North America - A Selection of Lithographs with original hand-color
Imperial Folio; Published in Philadelphia between 1839 and 1844 by J.T. Bowe
Originally issued in 30 parts, 5 plates per part, in collaboration with his sons, Victor Gifford
and John Woodhouse Audubon; each plate approximately 27 ¾" x 21 ½" with full margins
60
61
Plate 56:
American Bison
(Male)
Estimate:
$25,000- 30,000
Guidance: Sold at
Sotheby’s, 2011
for $21,250
Plate 81:
Common
American Deer
(Fawn)
Estimate:
$10,000- 12,000
Guidance: Sold at
Christie’s, 2011
for $5,625
62
63
Plate 68:
Fox Squirrel
Estimate:
$8,000- 12,000
No Reserve
Plate 141:
American Black
Bear
Estimate:
$10,000- 15,000
Guidance: Sold at
Guernsey’s, 2012
for $11,590
64
65
Plate 16:
Canada Lynx
Estimate:
$16,000- 20,000
Guidance: Sold at
Guernsey’s 2011
for $26,840
Plate 91:
Polar Bear
Estimate:
$12,000- 18,000
Guidance: Sold at
Christie’s, 2001
for $6,000
21
67
66
Plate 31:
Collared Peccary
Estimate:
$7,000- 9,000
No Reserve
Plate 66:
Virginian
Opossum
Estimate:
$6,000- 8,000
No Reserve
Guidance: Sold at
Christie’s, 2011
for $2,000
68
69
Plate 82:
Red Texan Wolf
Estimate:
$6,000- 8,000
No Reserve
Guidance: Sold at
Sotheby’s, 2005
for $9,375
Plate 33:
Mink
Estimate:
$4,000- 5,000
No Reserve
71
Plate 42:
Common American
Skunk
Estimate:
$4,000- 5,000
No Reserve
70
Plate 63:
Black-tailed Hare
Estimate:
$6,000- 8,000
No Reserve
22
72
73
Plate 11:
Northern Hare
(Summer)
Estimate:
$4,000- 5,000.
No Reserve
Plate49:
Douglass’s
Spermophile
Estimate:
$500- 1,000.
No Reserve
74
75
Plate 92:
Texan Lynx
Estimate:
$1,000- 2,000.
No Reserve
Plate 106:
Columbian Black
Tailed Deer
Estimate:
$3,000- 4,000.
No Reserve
77
76
Plate 53:
Texan Skunk
Estimate:
$3,000- 4,000.
No Reserve
Plate 38:
Red-bellied Squirrel
Estimate:
$1,000- 2,000.
No Reserve
23
78
Plate 21
Grey Fox
Estimate: $15,000 - 20,000
Guidance: Sold at Sotheby’s, 2007 for $18,000
79
Plate 101
Jaguar
Estimate: $12,000 - 16,000
Guidance: Sold at Sotheby’s, 2008 for $13,750
24
A Rare First Edition of Audubon’s Octavo Quadrupeds in the original parts
80
The Quadrupeds of North America
New York: V.G. Audubon, 1849-1851-1854
Estimate: $25,000 - 30,000
Guidance: Sold at Christie's New York, Dec 3, 2010, lot 283 for $55,000
31 parts (10 4/8 x 7 2/8 inches). 155 fine handcolored lithographed plates by W. E. Hitchcock and R.
Trembly after J.J. and J. W. Audubon (pale waterstain affecting a few plates, occasional spotting and soiling of
text and plates, some offsetting to text, a few minor tears to text and plates). Original tan printed paper wrappers (most sewing removed, some backstrips perished or defective, some wrappers detached and frayed, some
soiling and spotting); modern blue cloth slipcases and uniform chemises.
First octavo edition, RARE IN ORIGIN AL PARTS.
The first 30 parts of the edition contain 150 plates
from the 1845-1848 folio edition of "The Viviparous
Quadrupeds of North America", with the final number reproducing five of six octavo plates from the 1854
supplement. Audubon's enthusiasm at the start of the
project was unbridled. Around 1840 he wrote to his
collaborator, the Rev. James Bachman, "I am growing
old, but what of this? My spirits are as enthusiastical as
ever, my legs full able to carry my body for ten years to
come, and in about two of these I expect the illustrations out, and ere the following twelve months have
elapsed, their histories studied, their descriptions carefully prepared and th e book print ed!
Only think of the quadrupeds of America being presented to the World of Science by Audubon and
Bachman" (Streshinsky, Audubon, p. 331). The artist
managed to complete seventy-seven drawings before
failing health kept him from his work. The remainder
were completed by John Woodhouse Audubon. The
dauntingly massive enterprise was a commer cial success, owing chiefly to Victor's careful management.
Before Audubon's death in 1851, his sons succeeded
in soliciting some three hundred subscriptions for the
work. Bennett 5; Nissen ZBI 163.
Cataloged by Kate Hunter
Rare Book Department
[email protected]
25
81
Viviparous Quadrupeds of North America
New York: J.J. Audubon - [V.G. Audubon], 1845-1848., 1848.
3 volumes, Imperial folio (27 x 21 4/8 inches). 150 hand-colored lithographs. Contemporary
American DELUXE BINDING of full maroon morocco gilt, all edges gilt (recently and expertly rebacked to style, rubbed).
Estimate: $600,000 - 700,000
Guidance: Christie's March 10, 2000. Lot 38 $464,500
First edition. In the 1830s, as the final plates were being completed for John James Audubon's monumental "Birds of America"
series, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive
study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as
impressive and sweeping as that he used for his birds. The result of the artist/naturalist's years of field research,
travel, and seemingly endless study was the "Viviparous Quadrupeds of North America", the outstanding work on
American animals produced in the 19th-century.
The artist's enthusiasm for "The Quadrupeds" was unbounded. In 1840, Audubon wrote to his friend and collaborator
John Bachman, "I am gr owing old, but what of this? My
spirits are as enthusiastical as ever, my legs fully able to carry
my body for ten years to come. Only think of the quadrupeds of America being presented to the World of Science by
Audubon and Bachman." Despite his newly acquired
wealth and celebrity, Audubon insisted on executing many
of the preparatory drawings and watercolors personally,
enlisting a select few to help. The contributors to the project included Bachman, a Lutheran minister who had been
the artist's closest friend and supporter for many years, who
wrote all of the descriptions and acted as a scientific editor
for the work. Audubon's two sons, John Woodhouse and
Victor, also t ook critical roles. With his sons, Audubon
traveled through the Eastern woodlands, and through
Missouri to the Rocky Mountains.
Together they collected and drew specimens along the
Mississippi, as well as in coastal regions of Florida and the East
Coast. As Audubon's health and eyesight began to fail, the help
of John Woodhouse and Victor became increasingly crucial to
"The Quadrupeds", now a family project. Audubon managed to
complete seventy seven drawings before failing health kept him
from his work. Before he died in 1851, Audubon's sons managed to solicit some three hundred subscriptions for "The
Quadrupeds". Together, the three men, along with John
Bachman, produced an unequaled record of American wildlife,
matching the great combination of art and science attained in
the "Birds of America". Like that series, "The Quadrupeds" are
wonderfully animated, superbly rendered, and beautifully printed in lar ge format. AN EXCEPTIONALLY BRIGHT AND
FINE COPY.
[email protected]
26
81 continued
A Page From the Viviparous Quadrupeds of North America
27
82
The Rare First Edition of Audubon’s Octavo “Birds of America”
Also Considered the First American Edition
John James Audubon
Birds of America,
From Drawings Made in the United States and Their Territories
First Octavo Edition. New York and Philadelphia:
J. J. Audubon and J. B. Chevalier, 1839-44.
Bound in 7 volumes, 8vo in 4's.
500 handcolored lithographed plates after Audubon
By W.E. Hitchcock, R. Trembly, and others
Printed and colored by J.T. Bowen
Numerous wood-engraved anatomical figures in text.
Contemporary American Delux Binding of Full Red Morocco Gilt
Estimate: $50,000 - 75,000
Guidance: Sold at Christie's Dec. 15, 2005 Lot 597 for $132,000
A tireless entrepreneur, John James Audubon devoted himself
to an unprecedented project, becoming the first to attempt the
seemingly insurmountable task of documenting all the bird life
of North America. This task grew out of a genuine and passionate interest in his subjects, and Audubon determined not
only to complete a pr oject that no one else had under taken,
but to approach it in an entirely innovative manner. His style
and his persona were much like the notion of America itself:
ambitious, animated, larger than lif e. The ar tist's tireless
efforts and remarkable talent culminated in the publication in
London of his 435-plate Birds of America (1827-1838), undoubtedly the greatest work on birds ever produced. The celebration
of this quintessentially American work, and the enterprising,
talented artist who created it, has grown steadily since the time
of its publication.. Even before the double elephant folio edition had been completed, Audubon was planning this, the
octavo edition, in order to make his magnificent Birds of
America available to a wider spectrum of people. In the introduction to the first part of his reduced format edition,
Audubon wrote that he had "been frequently asked, for several
years past, by numerous friends of science, both in America
and Europe, to present to them and to the public a work on the
Ornithology of our country, similar to my large work, but of
such dimensions, and at such price, as would enable every student or lover of nature to place it in his Library."
All of the birds from Audubon's original folio aquatints were
reduced by camera lucida for lithography by the artist's son
John Woodhouse, and new species w ere added. The oct avo
edition was expanded to 500 plates, and included the text of
Audubon's "Ornithological Biography.” Because it incorporates Audubon's text and several new plates, this edition is also
considered the first complete edition of A udubon's Birds of
America, as well as the first American edition. It was beautifully printed and colored by John Bowen of Philadelphia, one
of the finest American lithographers of his day, and issued in
100 serial parts over a five-year span. Audubon's "little work,"
as he called it, was a great success, attracting nearly 1,200 subscribers and becoming the format through which Audubon's
ornithology was most widely disseminat ed in the nineteenth
century. The q uality of the plates in this particular copy is
magnificent, as is the gilt mor occo binding, making this set
particularly desirable.
[email protected]
28
Natural History Watercolors
&
Colorplate Books
Afternoon Sale
Lot 83 - 138L
Unable to attend the auction in NYC on
December 5th? Feel free to contact Guernsey's
to arrange for absentee telephone bidding. You
can also bid in "r eal time" on the Internet at
liveauctioneers.com or send in the Absentee Bid
Form at the back of this catalogue. Thank you
29
83 Pieter Holsteyn the Younger (1614-1687)
A fine tulip study from Munart
Atocat’s Tulip Book
Gouache on paper with gum arabic
Paper size approximately: 14 5/8 inches x
10 1/8 inches
Handsomely framed
Estimate: $15,000 - 20,000
85
84
Pieter Holsteyn the Younger (16141687)
A fine tulip study from Munart Atocat’s
Tulip Book
Gouache on paper with gum arabic
Paper size approximately: 14 5/8 inches x
10 1/8 inches
Handsomely framed
Estimate: $15,000 - 20,000
Tulip Study
Watercolor on paper
4 1/2 x 10 inches
Handsomely framed
Estimate: $6,000 - 8,000
30
86
87
Johann-Samuel Arnhold (1766-1828)
Still life of Pink Roses, Irises and White Carnations
Paper size: 9 1/4 x 7 1/2 inc he; Handsomely framed
Signed lower right: Arnhold
Estimate: $5,000 - 7,000
Johann-Samuel Arnhold (1766-1828)
Still life of Yellow, Orange and Pink Carnations
Paper size: 10 x 7 5/8 inches; Handsomely framed
Estimate: $4,000 - 6,000
88
89
Unidenfitied Artist
Mixed Bouquet
12 x 15 1/2 inches
Watercolor on paper
Handsomely framed
Estimate: $3,000 - 4,000
No Reserve
Jean-François van Dael (Antwerp 1764-1840 Paris)
Floral Still Life with roses, passion flower, impatiens, bellflower, snapdragon, grapes and butterflies
Watercolor on paper
13 x 16 inche; Handsomely framed
Signed lower right: Vandael 1807
Estimate: $1,000 - 2,000
No Reserve
31
91
Herman Henstenburgh (1667-1726)
Blue Liseron flowers, lush greenery, butterfly and other flowers on
a tabletop
Gouache on vellum with painted frame lines in brown ink done
with a feather pen
Vellum size: 11 1/2 x 14 inches
Handsomely framed
Estimate: $7,000 - 10,000
No Reserve
Grapes, peaches, cherries and insects on a tabletop
Gouache on vellum with painted frame lines in brown ink done
with a feather pen
Vellum size: 11 1/2 x 14 inches
Handsomely framed
Estimate: $7,000 - 10,000
No Reserve
90
92
Bouquet
Watercolor and gouache on vellum
11 x 14 inches; Handsomely framed
Signed and dated lower right: H. Henstenburgh fecit… 1700
Estimate: $30,000 - 35,000
32
93
Still-life with a monkey and a basket of flowers on a stone ledge
Watercolor and gouache within black framing lines, on vellum
Paper size: 16 1/2 x 12 3/4 inches
Framed: 25 1/2 x 21 7/8 inches
Signed l. r.: H. Henstenburgh. fec=
Provenance: Pieter van den Brande and/or Johan Pieter van den Brande, Middelburg; by descent to E. C. Baron van Pallandt; sold by
him, Amsterdam, Mak van Waay, 26 September 1972, lot 336; private collection
Estimate: $150,000 - 175,000
33
Federico Cesi (Rome 1585-1630 Acquasparta)
Mint Branch, Balsamita Major
Numbered ‘323’ and annotated by F. Cesi
Black stone, watercolor enhanced with white, with framing
lines in brown ink done with a feather pen
A composition in the style of George III
Site size: 11 1/2 x 16 inches; Handsomely framed
Estimate: $7,000 - 10,000
No Reserve
94
95
George Dionysius Ehret (1708-1770)
A Passion Flower
Vellum size: 16 1/2 x 12 1/4 inches
Frame size: 22 x 26 1/2 inches
Black chalk, watercolor and bodycolor on vellum
Signed and inscribed: G.D. Ehret. pinxt Maracock, or Passion Flower
Estmimate: $9,000 - 12,000
34
96
97
Estimate: $7,000 - 10,000
Estimate: $7,000 - 10,000
Louis Choris (1795-1828)
Palms, c. 1818
Original watercolors for one of two publications: Voyage Pittoresque Autour du Monde… (Paris, 1822)
Vues et Paysages des Regions Equinoxiales... (Paris, 1826)
Pen and ink, pencil and watercolor on paper
Paper size: 9” x 7 1/8”; Handsomely framed; Annotations in pen and ink
98
Estimate: $7,000 - 10,000
35
99 Carl Friedrich Philipp von Martius (1794-1868)
and Johann Moritz Rugendas (1802-1858)
A Brazilian landscape with Indians encamped under palms
by a river,
a snake and crocodile in the foreground
Pencil, ink and watercolor on paper
Paper size: 18 1/2” x 14 1/2”;Handsomely framed
Inscribed along lower margin: Manicaria Saccifera/
Desmoncus orthacanthos Tab:98
Literature: C. F. P. von Martius, Historia Naturalis
Palmarum, II (De Brasiliae Palmis Singulatim) (Leipzig,
1823-1850), pp.87, 140-141, pl.98 (‘Manicaria
Saccifera/Desmoncus orthacanthos’).
Estimate: $100,000 - 150,000
This remarkable watercolor is a study for plate 98, volume two of Martius’s exhaustive work, Historia Naturalis
Palmarum. The plate credits the lithographer (‘C. Hess
in lap. del’) working from the author’s model (‘Martius
palm ad nat.’). The snake and crocodile are omitted in
the plate. If Martius provided the original sketches of
the two palms (as credited in the plate), the present
watercolor may nevertheless have been worked
up by Johann Rugendas for publication.
Martius’s Historia Naturalis Palmarum was based on his
travels in Br azil with Johann Baptist von Spix from
1818 to 1820, but expanded, in a third volume
(Expositio Systematica), to include all species then known
worldwide. The majority of drawings of palms for the
second volume, dedicated to Brazilian palms, were credited to Martius with just a few landscapes, representing areas not travelled over by
Martius, taken from works by Frans Post and Johann Moritz Rugendas. As with the present watercolor, it is pr obable that
Rugendas worked up many of Martius’s sketches for publication.
King Maximilian Joseph of Bavaria sent Martius, a botanist, with Spix, a zoologist, to Brazil in 1817 in the suite of the Archduchess
Leopoldina. They were under instructions to investigate natural history and tribal indians and travelled extensively, beginning in Rio de
Janeiro and Sao Paulo before making their way north, inland to Montes Claros and the Upper Sao Francisco, across to Salvador de Bahia
and then northwest to Para. They became the first non-Portuguese Europeans to obtain permission to visit the Brazilian Amazon, starting
upstream in August 1819. They split up in December, Martius ascending the Japura for two months reaching territory close to the frontier with modern day Colombia, before reuniting at Barra (Manaus) in March 1820 and returning to Belem. From there they sailed for
Europe with a vast collection of natural history specimens and Indian artefacts.
The journey was the subject of their co-authored Reise in Brasilien, published in three volumes with an atlas (Munich, 1823-1832) and
spawned Martius’s two monumental works on natural history, Historia Naturalis Palmarum and the mammoth Flora Brasiliensis, the latter
published between 1840 and 1906, with just one third published by the time of Martius’s death in 1868.
36
Mrs. William Moore, 18th century
Study of a Mango
17 1/2 x 11 inches; Handsomely framed
Pencil and watercolor with gum arabic on card
Signed and inscribed lower left: Mangue Edmond/
peinte d’apres nature/ par Mme Wm Moore
Inscribed lower right: Mangue Edmond
Estimate: $3,000 - 4,000
100
101
Pierre-Joseph Redouté (1759-1840)
Still Life with Peaches
Watercolor on vellum
Vellum size: 8 1/4 x 11 inches; Handsomely framed
Signed lower left: P J Redouté
Estimate: $10,000 - 15,000
102
Pancrace Bessa (1772-1846)
Peaches
Watercolor and gum arabic over pencil heightened with
touches of gold on the fly’s eyes, On vellum
8 5/8 x 10 3/8 inches
Estimate: $25,000 - 30,000
37
103
Jean Louis Prevost
Still-life with a bouquet of flowers and a bird's nest with eggs.
Oil on canvas,
12" x 15 1/2".
Signed and dated in lower left, "J. L. Prevost 1795."
Estimate: $100,000 - 150,000
Jean Louis Prevost was a successful and widely renowned flower
painter, respected both for his watercolor and oil paintings and for
his engraved works. His paintings were consistently exhibited in
the Paris Salon, and his original watercolors served as models for a
series of exquisite color plate botanical books. His "Collection des
Fleurs et des Fruits" is one of the greatest French flower books of
the early 19th century. Unlike Redoute, his great contemporary,
Prevost's intention with his works was not primarily scientific. His
great "Collection..." was intended as a reference work for china and
fabric pattern designers.
Prevost here demonstrates his mastery of the traditional still-life
genre. The s trong composition indicates his aesthetic concerns,
while the delicate, detailed and higly accurate depiction of each
flower also exemplifies the artist's exceptional rendering skill. For
though not primarily a botanist, all of Prevost's works were based
on careful observation of specimens.
This lively and accomplished work presents Prevost's mastery both of decorative design and descriptive rigor. It is a unique and affecting
piece by an artist who occupies an unusual place in the history of botanical art.
38
104
105
Raoul Maucherat de Longpré (1843-1911)
Bouquet of Pink Roses and White Lilacs
Paper size: 26 3/4 x 20 inc hes ; Handsomely framed
Watercolor and gouache on paper
Signed lower right of center
Estimate: $8,000 - 10,000
No Reserve
Raoul Maucherat de Longpré (1843-1911)
Bouquet with Roses and Lilacs
14 1/4 x 10 1/4 inches
Handsomely framed
Signed lower right of center
Estimate: $7,000 - 8,000
No Reserve
39
Attributed to Nicolas Robert (1614-1685)
Untitled: White and Pink Chrysanthemum with a Butterfly
Vellum size: 9 x 6 5/8 inches
Handsomely framed
Pencil, watercolor and body color on prepared vellum
Estimate: $10,000 - 15,000
107
106
J. L. MacFarlane (19th century)
Irises
11 x 20 inches
Watercolor on paper
Estimate: $6,000 - 8,000
No Reserve
40
108
Nicolas Robert (1614-1685)
Flamingo
Watercolor on vellum with gold fillets
14 1/2 x 10 5/8 inches
Estimate: $120,000 - 150,000
Guidance: Sold at Blanchet, Paris on March 17, 2010 for $152,334
Nicolas Robert was one of the greatest natural history artists of the
17th century, and his work established standards combining scientific accuracy and esthetic appeal that influenced generations of
artists and won the respect and patronage of the French royal family. Robert created a vast, exquisite body of work for the French
Crown. Along with other artists, Robert was commissioned by
Gaston d'Orleans, brother of Louis XIII, to create watercolors of
the rare plants and exotic birds he had assembled in his garden at
Blois and the Ménagerie at Versailles. Robert's talent was recognized quickly as being superior to that of other artists working for
the royal family, and after Gaston d'Orleans's death, he w as
quickly placed under the patronage of the Sun King, Louis XIV. As a reward for the stunning works he painted for the king's personal
collection, Robert was named "Peintre Ordinaire du Roi" in 1666, a title that confirmed his continuing fame and patronage.
Robert was the first significant contributor to a collection of fine watercolors on vellum that became known, collectively, as the Velins du
Roi (the King's Vellums). The watercolors Robert completed under Gaston d'Orleans and then Louis XIV for the royal collection fed the
interest and provided the inspiration for the gr eat masters of botanical and ornithological art who followed: Jean Joubert, Nicholas
Marechal, Gerard van Spaendonck and, of course, Pierre-Joseph Redouté. Thus the extremely fine print work of Parisian natural historians and flower painters as late as 1825 can be traced directly back to the strength of Robert's tradition.
Probably executed for noble patrons, these stunning ornithological watercolors date from around the time of Robert's period in the court
of Louis XIV. The bir ds are defined with subtle modulations of delicate hues, and the simple yet monumental compositions combine
flawless artistry with Robert's characteristic attention to scientific precision. The vas t majority of Robert's watercolors are housed in
public institutions, including the Musee d'Histoire Naturelle in Paris, the British Museum in London, and the Hofbibliothek in Vienna.
These watercolors represent an unusual opportunity to obtain original, unique works by a highly important and exceptionally talented
artist. The brilliance that made the Sun King recognize Robert as the preeminent watercolorist of his day is still evident in these pristine
and charming works.
41
109
Northern Bobwhite (Female)
12 x 13 1/4 inches
Framed: 24 5/8 x 20 5/8 inc hes
Gouache on vellum with gold fillet
Paris, circa 1670
Estimate: $120,000 - 150,000
42
Blue Jay (Cyanocitta cristata)
12 x 13 1/4 inches
Gouache on vellum with gold fillet
Estimate: $120,000 - 150,000
111
110
King Vulture
Watercolor on vellum with gold fillets
15 3/4 x 11 inches
Estimate: $20,000 - 30,000
43
112
Rex Brasher (1869-1960)
Nesting Flamingos
Gouache on board
Board size: 15” x 21” ; Handsomely framed
Signed in monogram and dated l.r.: RB/ 8.8.09
Estimate: $6,000 - 10,000
No Reserve
113
Seagulls
Gouache on board
Board size: 15” x 21”; Handsomely framed
Signed in monogram and dated l.r.: RB/ 2.16.10
Estimate: $2,000 - 3,000
No Reserve
Terns
Gouache on board
Signed in monogram and dated l.r.: RB/ 4.30.10.
Estimate: $2,000 - 3,000
No Reserve
44
114
115
Joseph Wolf (1820-1899)
Merlin; Falco aesalon; Falco columbarius Linnaeus
Study for John Gould The Birds of Great Britain, I, plate 19
Pencil and watercolor with bodycolor and gum arabic
Paper size: 21 x 14 1/2 inches; Handsomely framed
Estimate: $25,000 - 35,000
45
Luigi Broglio (18th century)
Study of a Bird
Gouache and watercolor with ink on paper
9 1/8” x 7 1/8”
Signed, lower right: Luigi Broglio
Estimate: $40,000 - 50,000
This flawlessly drafted study is an excellent example of the 18thcentury Italian School of natural history painting. The artist, Luigi
Broglio, has depict ed the bird in per fect detail, its coloring and
plumage meticulously rendered. Though Broglio was clearly con cerned with capturing the precise physical characteristics of his
subject, he has also endowed this watercolor with striking animation, as the bir d seems t o have landed, suddenly, on the slender
branch. The balance of scientific documentation and artistic creativity makes this a particularly engaging work, and a stunning
example of an original work from this period.
116
46
118
117
Louis Agassiz Fuertes
(1874-1927)
Three Gyrfalcons
Signed lower right: Louis agassiz FuerTes
Watercolour and gouache on paper
19¼ x 15½ inches; Handsomely
framed
Estimate: $10,000 - 15,000
119
Peter Paillou (fl. 1745-1806)
A Cockerel
Watercolour over pencil, heightened with
bodycolour on laid paper
Paper size: 14 x 19 1/2 inches
Handsomely framed
Signed lower right: P. Paillou 1755
Estiamte: $10,000 - 15,000
Francis Lee Jaques (1887-1969)
Flock of Golden Eye Ducks
Watercolor and gouache
11 1/4 x 15 1/4 inches; Handsomely
framed
Signed: F L Jaques
Estimate: $10,000 - 15,000
47
120
Joseph Bartholemew Kidd (1808-1889)
Pigeon Hawk (Falco Columbarius)
26 x 20 inches
Framed: 28 x 32 inches
Oil on canvas
Estimate: $100,000 - 150,000
The history of this striking oil begins with Joseph Kidd's
unique business arrangement with John James Audubon.
The two artists first met in 1827, when Audubon was in
Edinburgh overseeing the initial stages of production of his
monumental “Birds of America” (a short time before the
Scottish printer William Lizars was succeeded by Robert
Havell, Jr., based in London). Kidd had received enough
acclaim in his field to be brought to Audubon's attention,
and to be regarded by the celebr ated artist as his equal.
Within several years, contemporary sources describe a joint
venture formed by the two men. The intention was for
Kidd to copy a number of Audubon's watercolor studies
into oil, and then embellish and refine them using his own
proficiency in painting landscap es. He w as to add stunning backdrops to Audubon's dramatic birds. The
renowned ornithologist knew where his strengths lay. He
had spent years developing his signature style, and his focus
was almost exclusively birds. Rather than spend years honing his skills in landscape painting, he chose to employ
another artist who w as able to paint surroundings which
were breathtaking and awesome, and in this respect, perfectly suited to complement Audubon's birds.
The purpose of the joint v enture appears to have been
manifold. The main goal was to create a "gallery" of embellished compositions based on A udubon's birds, thereby
working both to promote the “Birds of America,” then in
production, and to create a business venture which would
hopefully prove quite lucrative in and of itself. Kidd's
paintings were eventually to be sold, the profits to be divided by the two men. In a review of Audubon's work that appeared in Blackwood's
Magazine in 1831, the noted Scottish ornithologist John Wilson wrote: "It is expected that there will be completed by Audubon, Kidd and
others…Four Hundred Subjects…of which may the proceeds prove a moderate fortune!"
By 1833, Kidd had copied and added sophisticated, dramatic landscapes to almost one-hundred of Audubon's watercolor compositions.
For each of these paintings Audubon paid Kidd one pound-roughly $5. Yet some tension was beginning to arise in the arrangement with
Kidd. The Scottish artist, apparently, was not the most industrious worker. In February of 1833, Audubon instructed his son Victor, in
a letter from the U.S., to "push Jos. B. Kidd of Edinburgh if he can be pushed t o paint copies of our drawings. I look on that series as
of great importance to all of us." Yet the importance that the ornithologist ascribed Kidd's work is also stated clearly in a letter written
soon after: "I long to hear that Kidd goes on with his task, for I truly believe that an exhibition of these Pictures in this Country would
pay Monstrously well!"
Eventually, due to such problems, the "Natural History Gallery of Paintings" was aborted, even though it seems to have been intended as
an integral compliment to the “Birds of America.” Mainly because the project was not brought to completion, it has basically been lost
to the public eye, in contrast with the amazing, enduring financial and artistic success of both the printed series and also Audubon's
watercolor studies. This is greatly unfortunate in many respects: Audubon intended Kidd's individual paintings to be, in a sense, the most
valuable of his birds, and also the most refined images he would present to the public.
48
121
Saker Falcons
Oil on canvas
Canvas size: 28 1/4" x 20"; Handsomely framed
Signed and dated lower right: J. Wolf 1864
Exhibited: Glenbow-Alberta Institute [now the Glenbow
Museum], Calgary Canada, “Birds of Prey”
Estimate: $120,000 - 150,000
This luminous oil displays Joseph Wolf's mastery of light
and form. His rigorously rendered figures are placed in a
context that conveys a bright and open sense of wilderness, while reminding the viewer of Nature's brutality.
Saker Falcons is a fine and compelling work by this exceptional artist. "The great thing I always aimed at," Wolf told
his biographer A. H. Palmer, "was the expression of Life."
Wolf believed that intimate knowledge of the living subject, its habits, and its behavior was the key to authentic
and successful zoological illustration. As such, his compositions reconciled the categories of art and science in an
extraordinary and distinctive manner, becoming dynamic
images of animated characterization as well as scientif ic
documentation.
Wolf, who grew up in Moer z in Prussia, was the first of a
select band of continent al European bird and animal artists to be attracted to England during the middle and latter half of the nineteenth century. At the age of sixteen he
left home and apprenticed himself to the lithographic
firm of Gebruder Becker in Coblenz, wher e he first met
his future patron Hermann Sc hlegel, then the assistant
keeper at the museum in Leyden, a prolific author of ornithological works. Af ter brief spells in F rankfurt and
Darmstadt, Wolf went to Holland and settled in Leyden in 1840; he was soon at work on the illustrations for Traite de Fauconnerie by
Schlegel and Wulverhorst. Working on this book on falconry, Wolf became an expert at portraying birds of prey, a flawless skill of representation that is in full evidence in Saker Falcons. After developing contact with John Gould, Wolf established himself in London,
where he exhibited at the Royal Academy, met Edwin Landseer and other animal artists, and won the patronage of discerning collectors
like the Duke of Argyll and Lord Derby. Wolf had a long and productive relationship with Gould, contributing plates to The Birds of
Asia and The Birds of Great Britain, and Gould became a frequent visitor to Wolf's studio. The rapidity of the growth of his reputation
was due, according to his biographer A.H. Palmer, to his power “of revivifying a dried skin and not merely revivifying, but showing the
most characteristic and beautiful attitude and expression of the living bird or animal,” and this combination of animation and beauty
characterizes Wolf’s Saker Falcons.
49
122
Archibald Thorburn (1860-1935)
Common Eider Ducks
Watercolor and bodycolor on paper
Paper size: 20” x 16”; Handsomely framed
Signed and dated: Archibald Thorburn 1912
Estimate: $15,000 - 20,000
124
Arthur Singer (1917-1990)
Tropical birds set in a lush landscape
Paper size: 17 1/4 x 19 inches; Handsomely framed
Signed lower right: Arthur Singer ‘86
Estimate: $5,000 - 7,000
123
Paul Bransom (1885-1979)
Glacier Bear
Sight size: 9 1/4 x 7 1/4 inches ; Handsomely framed
Watercolor, gouache, charcoal and ink on paper
Signed lower right: Paul / Bransom
Estimate: $2,000 - 3,000
No Reserve
50
Prideaux John Selby (1788-1867)
Original watercolors for "Illustrations of British Ornithology."
London, ca. 1820
Considered by many as the English equivalent of Audubon, Prideaux
John Selby created some of the most memorable bird images of the
19th century. His contributions to British Ornithology were rivaled
only by those of John Gould, and yet his images were on a lar ger
scale and less purely scientific, exhibiting Selby's distinctive and
charming style. A sense for Selby's enthusiasm for his subjects is
nowhere more palpable than in his engaging original w atercolors.
Selby executed these delightful images as preparatory models for his
landmark printed series, "Illustrations of British Orn ithology."
While the ar tist's engraved work is itself highly desirable to collectors, Selby's original watercolors almost never become a vailable.
This selection of w atercolors, moreover, comprises several of his
masterpieces. The distinctive birds are depicted in pr ofile, their
forms delineated by softly modulated tones of black and gray wash,
while the setting, if present, is lightly but skillfully painted in order
not to distract from the birds themselves. The skill and delicacy of
Selby's touch, his keen powers of observation, and his artistic sensitivity are conveyed here in a way they are not in his printed work.
Born in N orthumberland and educated at University College,
Oxford, Selby was a landowner and squire with ample time to devote
to the study of the plant and animal life at his country estate, Twizell
House. As a boy, he had studied the habits of local birds, drawn
them, and learned how to preserve and set up specimens. Lat er,
Selby became an activ e member of several British natural history
societies and contributed many articles to their journals. Although
Selby was interested in botany and produced a "History of British
Trees" in 1 842, he is best known for his "Illustrations of British
Ornithology," the first attempt to produce a set of life-sized illustrations of British birds, remarkable for their naturalism and the delicacy of their execution. Issued in nineteen parts over thirteen years,
the book consisted of 89 plates of land birds and 129 plates of water
birds, engraved by William Lizars of Edinburgh, the print er who
engraved the first ten plates of Audubon's "Birds of America."
125
Common Wild Goose
Watercolor, gouache, grey and brown washes
Paper size: 20 x 17 5/8”; Handsomely framed
Signed lower left: PJ Selby
Estimate: $25,000 - 30,000
126
King Eider, female
18 1/4 x 15”; Handsomely framed
Estimate: $20,000 - 30,000
These exquisite watercolors, with their exceptionally rich detail and
tonal range, are beautiful works by one of the foremost British bird
painters. F urthermore, they represent a singular oppor tunity to
obtain unique work of the highest quality by this luminary artist,
from an era in British ornithological art that remains unparalled.
Tufted Pochard
Paper size: 11 1/4 x 17 1/2”; Handsomely framed
Estimate: $20,000 - 30,000
127
51
128
129
Prideaux John Selby
Kite or Glead
16 5/8 inches x 11 1/2”; Handsomely framed
Signed lower left: PJS
Estimate: $20,000 - 30,000
Prideaux John Selby, Merlin, female
15 5/8 x 10 1/4 inches; Handsomely framed
London, ca. 1820
Estimate: $20,000 - 25,000
131
130
Prideaux John Selby, Black Grouse, male
Signed lower right: PJ Selby
Estimate: $30,000 - 40,000
Prideaux John Selby, Scaup Duck
Paper size: 14 3/8” x 18 1/4”; Handsomely framed
Signed lower left.: RM
Estimate: $20,000 - 30,000
52
132
Prideaux John Selby, Golden Eagle, female
20 3/4” x 15”; Handsomely framed
Signed lower right: PJ Selby
Estimate: $50,000 - 60,000
53
133
Bearded Vultures Attacking an Alpine Ibex
Oil on canvas
Canvas size: 90 1/2" x 67"; Handsomely framed
Signed and dated l.r.: J. Wolf 1861
Literature: A.H. Palmer. The Life of Joseph Wolf, Animal Painter. London & New York: 1895
Estimate: $60,000 - 70,000
Sr Edwin Landseer described Joseph Wolf as “...without exception
the best all-round animal painter who ever lived.” Born and educated in Prussia, Wolf left home at the age of 16 and apprenticed
himself to the lithographic firm of Gebruder Becker in Coblenz,
where he f irst met his future patron Hermann Schlegel, then the
assistant keeper at the museum in Le yden and a prolific author of
ornithological works. After brief spells in Frankfurt and Darmstadt,
Wolf went to Holland and settled in Leyden in 1840; he was soon at
work on the illustrations for Traite de Fauconnerie by Schlegel and
Wulverhorst. Working on this book on falconry, Wolf became an
expert at por traying birds of prey, a flawless skill of representation
that is in full evidence in Bearded Vultures attacking an Alpine Ibex.
After developing contact with John Gould, Wolf established himself
in London in 1848, where he exhibited at the Royal Academy, met
Edwin Landseer and other animal artists, and won the patronage of
discerning collectors like the Duke of Argyll and Lord Derby. He
quickly became the foremost animal illustrator in Britain. Wolf had
a long and pr oductive relationship with Gould, contributing plates
to The Birds of Asia and The Birds of Great Britain, and Gould became
a frequent visitor to Wolf's studio. The rapidity of the growth of his
reputation was due, according to his biographer A.H. Palmer, to his
power “of r evivifying a dried skin and not merely revivifying, but
showing the mos t characteristic and beautiful attitude and expression of the living bird or animal.” Ho wever, Wolf did not wish to
be categorized as a scientific illustrator, preferring to create complete
and naturalistic compositions which conveyed a sense of drama and
mystery. Rather than show his subjects isolated from their environment, he integrated them into a natural setting and portrayed them
involved in dramatic action. This combination of animation and
beauty characterizes Wolf’s Bearded Vultures attacking an Alpine Ibex.
In 1852, the British Zoological Society commissioned Wolf to complete several watercolors for its Zoological Sketches published in parts
between 1856 and 1867. P.L.
Sclater, the secretary of the society, noted in the publication’s preface, “the Council was fortunate enough to secure the services of
Mr Joseph Wolf, who may be fairly said to stand alone in intimate
knowledge of the habits and forms of Mammals and Birds.” By this
stage in his career, Wolf's works were in considerable demand both
in their own right and as illustrations to books and journals. From
1859 to 1869 he was the regular artist for Ibis, the journal of the
Zoological Society, and his work was also r eproduced in the
Illustrated London News, Once a Week, The Leisure Hour, The Sunday
at Home, and The Graphic. Unfortunately, during the 1870s, Wolf
was increasingly hindered by the onse t of chronic rheumatism,
which gradually curtailed his work, but he lived on into his eightieth year and died in London surrounded by his pet birds and held
in high popular esteem. More than three-quarters of a century
later his plates are regarded as among the finest productions of the
great period of the illustrated book, while his oil paintings, watercolors and drawings are prized by museums and collectors alike.
Barded Vultures Attacking an Alpine Ibex is a tense and atmospheric
painting of epic scale that fulfills Wolf's love of dr ama, and also
shows a master illustrator at the peak of his skills. According to his
biographer, A .H. Palmer, Wolf considered this to be one of his
finest and most characteristic works. This luminous oil displays
Wolf's mastery of light and form. His rigorously rendered figures
are placed in a context that conveys a rigorous sense of wilderness,
while reminding the viewer of Nature's brutality. “The great thing
I always aimed at,” Wolf told his biographer A. H. Palmer, “was the
expression of Life.” Wolf believed that intimate knowledge of the
living subject, its habits, and its behavior was the key to authentic
and successful zoological illustration. As suc h, his compositions
reconciled the categories of art and science in an extraordinary and
distinctive manner, becoming dynamic images of animated characterization as well as scientific documentation.
54
133 continued
The Most Impressive, Large-scale Work by Wolf to Ever Come on the Market
Bearded Vultures Attacking an Alpine Ibex
Oil on canvas
Canvas size: 90 1/2" x 67"; framed size: 96 1/2” x 73”
Signed and dated l.r.: J. Wolf 1861
55
134
Roger Tory Peterson (1908-1996)
Peterson was an internationally renowned ornithologist, naturalist,
author, lecturer and artist. Nevertheless, out of all of these labels he
first and foremost identified himself as an artist. Born in Jameston,
New York, Peterson spent his youth sketching and observing birds
in nearby rivers and fields, and reading books about the titans of
ornithological illustration like Durer, Lear, Audubon and Fuertes.
As he grew into adulthood, Peterson studied at the Ar t Students
League and National Academy of Design, both in New York. After
college, Peterson moved to Massachusetts in order to teach science
and art. It w as there that he dev eloped his extremely influential
system for identifying birds in the field. Peterson's system ultimately
inspired him to publish his first Field Guide to the Birds in 1934.
In spite of a severe economic depression, Peterson's Guide sold out
in one week. His book would subsequently be re-released in 4
more editions.
Peterson is rightly credited as one of the founding inspirations of
the twentieth-century environmental movement, having tirelessly
traveled the world to lecture on, obser ve, and record obscure and
exotic species of birds.
He also ser ved as a vital member of the administrative staff of the
National Audubon Society, managing the organization’s educational
programs and serving as the art editor of its magazine. Peterson also
served as art director of the National Wildlife Federation for over
three decades, and made environmental films in America, Europe,
Africa, the Galapagos Islands, and Antarctica and the Artic.
Peterson's works are part of the permanent e xhibit at the Leigh
Yawkey Woodson Art Museum in Wasau, Wisconsin, and have also
been exhibited at the Smithsonian Institution. Peterson has received
every major American award for natural science, ornithology, and
conservation. He has also been the recipient of numerous honorary
medals, diplomas, and citations, including the U .S. Presidential
Medal of F reedom and the Order of the Golden Ark of the
Netherlands. Peterson died at his home in Old Lyme, Connecticut
in 1996.
56
134 continued
Roger Tory Peterson (1908-1996)
Arctic Glow - Snowy Owls
53 1/2 x 35 1/2inches; Handsomely framed
Acrylic and pencil on board
Signed and dated lower left: Roger Tory Peterson - ‘83’
Signed, dated and inscribed verso: ‘To My Ginny / With Love,/ Roger - / June ‘83’
Estimate: $90,000 - 110,000
57
135
A Masterpiece from the Goeblins Tapestry Manufactory
Le Cheval pommelé ou L'Indien à Cheval\
(The Indian on horseback /or The
Grey Horse) From the series T enture
des Indes (Anciennes Indes/Old Indies
tapestries) After a car toon by Albert
Eeckhout The Gobelins T apestry
Manufactory (Manufacture Royale
des Gobelins); Wool and silk. Woven
basse lisse, within the ‘first’ four-sided
borders of gold and r ed alternating
acanthus leaf and guilloche bands on
a blue ground, with further narrow
inner husk and outer red and gold
banded borders, with blue outer selvedge.
The reverse with a section of old
lining marked in ink with: No 158.
INDIENS. 8.P.4. au, 3 au 15ft. 1in. x
11ft. 3in. (appr oximately 458 x 3 44
cm) Woven 1687-89
Provenance: Collection of H.
Braquenié, sold 18th May 1897;
Collection Carlos de Beistegui,
Palazzo Labia, Venice, sold 6-1 0th
April 1964; Private Collection;
Collection of Alberto Bruni Tedeschi
References: Maurice Fenaille, Etat
général des tapisseries de la Manufacture
des Gobelins depuis son origine jusqu'à nos
jours (1600 - 1900). Période Louis XIV
(1662 - 1699). Paris 1903, p. 376, illustrates a weaving from the workshop of
De la Croix, 1689, now in the Mobilier
National, Paris. The whole series is to
be seen in Jean Vittet, Arnauld Brejon
de Lavergnée, La collection de tapisseries
de Louis XIV, Dijon
2010, p. 402 - 407.
Estimate: $700,000 - 900,000
58
A Masterpiece from the Goeblins Tapestry Manufactory
136
Le roi porté par deux Maures (The King borne by
Two Moors) From the series Les Anciennes Indes,
after a cartoon by Albert Eeckhout The Gobelins
Tapestry Manufactory (Manufacture Royale des
Gobelins) Wool and silk. Woven basse lisse,
within the ‘first’ four-sided gold and r ed acanthus borders on a blue ground, with narrow
inner husk and outer red and gold banded borders, with blue outer selvedge 15ft. 4in. x 1 0ft.
8in. (approximately 467 x 325 cm)Woven 1687-89
Provenance: Collection of H. Braquenié, sold
18th May 1897; Collection Carlos de Beistegui,
Palazzo Labia, V enice, sold 6-1 0th April 1964;
Private Collection; Collection of Al berto
Bruni Tedeschi
References: Charissa Bremer-David, "Le Cheval
Rayé: A F rench Tapestry Portraying Dutch
Brazil", The J. P aul Getty Museum Journal, 22,
1994, pp. 21-29. Charissa Bremer-David, French
Tapestries & Textiles in the J. Paul Getty Museum,
Los Angeles 1997. Maurice Fenaille, Etat général
des tapisseries de la Manufacture des Gobelins depuis
son origine jusqu'à nos jours (1600 - 1900). Nello
Forti Grazzini, "Le Indie Tessili: Arazzi di Malta",
FMR (Italian ed.), No. 128, June-July 1998, pp.
37-74 (English ed.: FMR/Int ernational, No. 92,
June-July 1998, pp. 37-74. Nello Forti Grazzini,
"The Striped Horse", in Thomas B. Cam pbell,
ed., Tapestry in the Baroque: Threads of Splendor,
catalogue of the exhibition (held in N ew York
and Madrid, 2008), N ew York-New HavenLondon 2008, cat. 48, pp. 390-97. M. Jarry "The
'Tenture des Indes' in the Palace of the Grand
Master of the Order of Malta," The Burlington Magazine No. 666, 1958 pg. 306-11. Gerlinde Klatte, "New Documentation for the "Tenture
des Indes" tapestries in Malta," The Burlington Magazine, No. 1300, Vol. CLIII, July 2011 pp. 464-469. Période Louis XIV (1662 - 1699). Paris
1903, p. 376, illustrates a weaving from the workshop of De la Croix, 1689, now in the Mobilier National, Paris. The whole series is t o
be seen in Jean Vittet, Arnauld Brejon de Lavergnée, La collection de tapisseries de Louis XIV, Dijon 2010, p. 402 - 407. P.J.P Whitehead,
A Portrait of Dutch 17th century Brazil, Animals, Plants and People by the artists of Johann Maurits of Nassau. Amsterdam, Oxford, New York, 1989.
Estimate: $700,000 - 900,000
59
An Exceedingly Rare Large-Paper Example of Redouté’s “Les Roses,”
Flawlessly Hand-Colored by the Artist Himself
137
Redoute, Pierre Joseph (1759-1840) and Claude Antoine Thory (1759-1827).
Les Roses
Paris: Firmin Didot, 1817-1824.
Estimate: $350,000 - 400,000
3 volumes. Folio (21 x 14 inches). Half-titles, engraved portrait of Redouté by C. S. Pradier after Gerard, stippled engraved wreath and
169 stipple-engraved plates after Redouté by Bessa, Bessin, Chapuy, Langlois, Victor and others, printed in colors and finished by hand
(tear repaired crossing the text on page 71 of volume one, the first plate of volume 3 lightly spotted, some occasional spotting).
Contemporary French purple half morocco by Simier, top edges gilt, others uncut (extremities a bit scuffed).
Provenance: From the library of the Marquises of Bath at Longleat.
Guidance: Sold at Christie's April 30, 1997, Lot 57 for $465,750
Redouté's printers struck black impressions-always on paper with a
distinct ochre tint-from the plat es for both "Les Roses" and "Les
Liliacées". The bo tanical descriptions were by Claude Antoine
Thory (1759-1827), a civil servant by profession, and an enthusiastic
gardener who cultivated his own collection of r oses. He and
Redouté regularly traded cuttings and seeds. The roses depicted in
the work included examples from Thory's own collection as well as
from Malmaison. "Redouté and Thory knew, described, and figured almost all the im portant roses in their day. Included were
many of the key ancestors of our present-day roses. The plates in
"Les Roses" have artistic value, and botanical and documentary
value, both for the species and
cultivars still surviving and for
those that have disappeared" [Sir George Taylor quoting Gisèle de
la Roche in the Schutter facsimile, (Antwerp, 1974-78)]. Dunthorne
232; "Great Flower Books" p. 71; Hunt "R edoutéana" 19; Hunt
"Printmaking in the Ser vice of Botany" 25; Johns ton Cleveland
"Herbal" 807; Nisen BBI 1599; Pritzel 7 455; Ray "F rench" 89;
Stafleu TL2 9748.
First edition, bound from the original 30 par ts between March 1817
and March 1824, each part containing six plates (except no. 10,
which had one plate, and no. 30, which had none). "Les Roses" was
issued in f our formats: a large-paper folio with colored plates (as
here); a "special issue" of each work with the extra suite of black
impressions on oc hre paper w as apparently bound in very small
quantities (Hunt, "Printmaking"); folio with colored plates; and folio
with the plates in two states. "Perhaps the most renowned and reproduced of all flower-books." (Coats) Commemorating the rose garden
of the Empress Josephine, many of the roses having been painted in
her garden at Malmaison. The subtle gradations of tone found in
Redouté's original watercolors are shown to perfection by the technique of the stipple engraving used to produce these exquisite plates.
Redoute met the renowned and t alented engraver Francesco
Bartolozzi, on a trip to London and learned that the most successful
impressions of stipple engravings came from well-used plates. A number of initial black plates were struck to take the edge off the plate
before printing in colors began.
[email protected]
60
An Exceptionally Fine Collection of the Works of John Gould (1804 - 1881)
138
Estimate: $1,600,000 - 2,500,000
Guidance: Christie's April 30, 2008. Lot 18 $2,458,658
Books sold individually if reserve not met
John Gould was without question the most prolific ornithological artist of the
19th century, and the only one to rival John James Audubon in ambition and
quality. The 19th century was a time of intense fascination with discoveries in
natural history, especially regarding knowledge of the wildlife of exotic lands.
Gould shared the romantic enthusiasm of his time for such subjects, as well as
the popular impulse to catalogue exotic wildlife. He combined his passion for
natural history with outstanding scientific, artistic, and entrepreneurial talents. Dr awing on these abilities, he embar ked on a series of projects that
would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould's unparalleled career spanned five decades,
and he produced a magnificent series of books of birds throughout the world.
From the time he took up taxidermy in his early teens, Gould was devoted to
recording bird life, either as he observed it personally or as it was reported to
him by other ornithologists.
He pr ocured the scientific information through extensive correspondence,
travel, and field research. The preparatory drawings that he produced were
passed on for completion to skilled illustrators, most notably his wife,
Elizabeth, and Edward Lear. The plates which resulted from such partnerships
were a splendid fusion of art and science, with a scope than r emains unsurpassed. Stunning and at the same time highly accurate,
Gould's illustrations linked beauty to science, and science to beauty, in and an unprecedented manner. The following list comprises
many of his most noted and rare publications, and each example shares a provenance of exceptional distinction, having been collected
by one of the most highly discriminating collectors, J. P. Morgan.
Some with the Provenance of J. P. Morgan who purchased the set from Henry Sotheran & Co., on June 15, 1899, and he donated it
to the Wadsworth Athenaeum in the name of his father; each volume has Morgan’s commemorative bookplate on the inner front
cover. Th e beautiful plat es are in r emarkably clean and brigh t condition, with the bindings in an eq ually fine state.
[email protected]
61
138c
138a
John Gould (1804-1881). The Birds of Europe.
London: by the author, [1832]-1837.
5 volumes. Folio (22 4/8 x 14 4/8 inches).
Estimate: $90,000-$100,000
John Gould (1804-1881) [Nicholas Aylward Vigors (1787-1840)].
A Century of Birds
from the Himalaya Mountains.
London: [for the author], 1831-[1833].
Estimate: $15,000-$20,000
John Gould (1804-1881).
A Monograph of the Ramphastidae,
or Family of Toucans.
London: for the Author, [1833-]1834[-1835].
Estimate: $60,000-$80,000
138b
138d
John Gould (1804-1881). The Birds of Australia. London: published for the author, printed by Richard and John E. Taylor, [1840-]
1848. - The Birds of Australia… Supplement. London: published by the author, [1851]-1869.
Estimate: $300,000-$400,000
62
138e John Gould (1804-1881) - Richard Bowdler SHARPE (1847-1909). The Birds of Asia.
London: Taylor and Francis for the author. 1850-1883.
Estimate: $140,000-$180,000
138g
138f
John Gould (1804-1881)]
Monograph of the Pittidæ. London:
published by the author, October 1880-1881.
Estimate: $10,000-$15,000
John Gould (1804-1881) and Richard Bowdler Sharpe (1847-1909).
The Birds of New Guinea and the adjacent Papuan islands,
including many new species recently discovered in Australia.
London: Taylor and Francis for Henry Sotheran & Co., 1875-1888.
Estimate: $100,000-$150,000
Sir John Franklin’s Copy
138h
John Gould (1804-1881). Monograph of the Trogonidae, or Family of Trogons.
London: Richard and John E. Taylor, for the author, 1858-1875.
Estimate: $30,000-$40,000
63
138j
John Gould (1804-1881). The Birds of Great Britain.
London: Taylor and Francis for the author, [1862]-1873.
Estimate: $80,000-$100,000
138i
A Monograph of the Trochilidae, or Family of Humming-Birds
First edition: London, 1849-1861
Estimate: $120,000-$180,000
138l
138k
“An Animal Perfectly New and Undescribed”
John Gould (1804-1881).
[London: by the author, August 1st 1841-May 1st 1842].
Two parts in one volume.
Folio (21 6/8 x 14 6/8 inches).
Estimate: $45,000-$60,000
John Gould (1804-1881). A Monograph of the Odontophorinae, or
Partridges of America. London:
Richard and John E. Taylor for the Author, [1844]-1850.
Folio (22 4/8 x 14 4/8 inches).
Estimate: $10,000-$15,000
64
The Most Significant
Maps in American
History
as Defined by
Professor Seymour
Schwartz in his
Seminal Work
“Mapping of America”
&
A Fine Selection of
Globes and Atlases
Evening Session, 6pm
Lots 139 - 190
Unable to attend the auction in NYC on December 5th? Feel free to contact Guernsey's to arrange for absentee telephone bidding. You
can also bid in "real time" on the Internet at liveauctioneers.com or send in the Absentee Bid Form at the back of this catalogue.
Thank you.
65
The Legacy of Professor Seymour Schwartz
For a period of about 10 years ending about a year ago it was possible to acquire the key American maps in Seymour Schwartz's "Mapping
of America" for roughly $45,000. As time goes by the genius of Dr. Schwartz becomes all the more evident as sophis ticated collectors
realize that the maps he illus trates in his book are the ones to own chiefly because of their historical importance but then followed by
aesthetic merit, condition, rarity and provenance - a system of map grading that was published by Arader Galleries in 1979 - over 32 years
ago. Why did it take so long?
Now the race is on to get the masterpieces that truly had an effect on history. Sy's book illustrates 95% of these key maps that illustrate
profoundly important NEW information for the very first time.
One of these key maps came up at Brunk A uction in North Carolina on July 1 6th. It w as the John Abraham Collet map of North
Carolina published in London in 1770. Basically it was put together to show King George III, the English parliament and the English
people what they won at the Treaty of Paris in 1763 signed between England and France at the conclusion of the French and Indian War.
William Pitt the elder bankrupted England winning this war and he was determined to show his fellow countrymen the vast lands that
they now controlled. One way he accomplished this was to generate a series of maps of the British Colonies constructed by his supremely talented British officers. Not only could they lead a group of soldiers in battle, wield a sword with deadly effect, shoot you between the
eyes at 50 yards, laugh in the face of certain death, steal your wife from you for an afternoon of pleasure, drink you under the table and
tell stories brilliantly, they were also precise draftsman. The maps that ensued are consistently superb. Most became available at the start
of a revolution by so called "Americans" determined to avoid paying taxes. Taxes that were generated to protect these English deadbeats
living in the Colonies from being pushed int o the Atlantic Ocean by the French. So today they are called the maps of the American
Revolution. They are not.
They are the maps of William Pitt used to show ALL Englishman what was won from a French King preoccupied and distracted by the
most beautiful woman that ever lived. If it were not for Pitt, we would all be speaking French instead of Eng lish.
During this period English designers employed superb asymme tric rococo decorative design mo tifs and this map has a fine example
housing the title in its "cartouche." So this maps is a winner as well because of aesthetics.
On June 25th a truly important map to come up was the Persac map of the Mississippi River. This is a map of legend showing all the
plantations just before the opening of the Civil War that devastated the way of life for all Louisianians for over 100 years. Up until this
asinine, purposeless confrontation between the North and the South, New Orleans was the most important, richest city in the United
States. They became brilliant traders slicing a rich cut of all trade that came down "Old man river." Magnificent homes were built all
over the r egion and the F rench culture imbued its r esidents with a wic ked elegance that f orcefully survives to this da y.
The Persac map sums up the birth of this culture and it sold for $197,000 at Neal's Auction House! So two great maps of the South have
made very close to $200,000. It is m y prediction that the key TEMPLATE maps showing the birth of regions or states or cities in the
United States from the 16th to 19th centuries will sell in the region of $200,000 for the next year or so. And with the Abel Buell map
making over $2,000,000, there is no question that some of the truly legendary maps will reach this value again.
This previous long period of lower prices is the result of map thieves stealing on demand for entitled collectors who rarely, if ever, checked
provenance. Finally, all the map libr aries with lazy stewards have now been fully looted and only the collections with vigilant curators
remain. So prices have jumped 400% in the last two years as the rarity factor has finally had an effect.
Of course this now will breed intense pressure on map librarians all over the world. These new values will ignite a feeding frenzy by dealers and their grimy henchmen unable and unwilling to buy legitimately. Their prey will be collectors who con veniently "forget" to
insist on provenance and integrity.
66
The first obtainable world map to show a printed depiction of America
139
Johannes Ruysch (c. 1460-1533)
"Universalior cogniti orbis tabula ex recentibus confecta observationi"
("A Universal Map of the Known World, Constructed by Means of Recent Observations") from Geographia Cl. Ptholemaei
Engraving: 17” x 23”; Rome, 1507 (1508)
Estimate: $175,000 - $200,000
Reference: Page 27, Plate 6 in Schwartz’s The Mapping of America
67
140
141
Martin Waldseemuller
Tabula Terre Nove
Woodcut map with original hand color: 18” x 233/4”; Strassburg, 1513
Estimate: $125,000 - 175,000
Oronce Fine (1494-1555)
“Nova, Et Integra Universi Orbis Descriptio” from Novus Orbis Regionum...
Woodcut
Frame size: 23 3/8” x 28 1/2”; Paris, 1531 [1532]
Estimate: $50,000 - 60,000
Reference: Page 46, Plate 16A in Schwartz’s The Mapping of America
68
142
Sebastian Munster
Tabula nouarum insularum, quas diverses respectibus Occidentales &
Indianas uocant
From Cosmographiae Universalis...
Woodblock print
Map size: 15 1/2” x 12 1/2”
Ninth state
Basel, 1540/1559
Estimate: $6,000 - 7,000
No Reserve
143
Giacomo Gastaldi (attr.)
La Terra de Hochelaga nella Nova Francia, 1556
Woodcut
10 x 14 inches
Estimate: $3,000 - 4,000
No Reserve
144
Bolognino Zaltieri
Il Disegno del discoperto della noua Franza
1566
Engraving
10 1/2 x 16 inches
Estimate: $150,000 - 175,000
Full margins
69
145
Abraham Ortelius
America Sive Novi Orbis Nova Descriptio from Theatrum Orbis Terrarum
Copper plate engraving with original hand-color:
paper size 18 x 22 1/2”; Antwerp, c.1587
Estimate: $5,000 - 7,000
No Reserve
146
Engraved portrait of Sir Francis Drake
Estimate: $8,000 - 9,000
No Reserve
Reference: Page 75 in Schwartz’s The Mapping of America
147
Theodore De Bry (1528-1598) & John White (1550-1606)
Americae pars, Nunc Virginia dicta
Copperplate engraving
Paper size: 12 1/2” x 17 1/4” ; Frankfurt, 1590
Estimate: $22,000 - 25,000
Reference: Page 77, Plate 37 in Schwartz’s The Mapping of
America
70
148
Jacques le Moyne de Morgues (d. 1587)
Floridae Americae Provinciae from volume two (“Brevis Narratio Eorum
Quae in Florida Americae Provicia) of Theodore de Bry's Great Voyages
Frankfurt, 1591; Copperplate engraving; 15 1/8 x 18 3/8”
Estimate: $22,000 - 25,000
149
Cornelis de Jode
Americae Pars Borealis, Florida, Baccalaos, Canada, Corterealis, 1593
Engraving; 15 x 20 inches
Estimate: $30,000 - 40,000
150
Marc Lescarbot
Figvre de la Terre Nevve, Grande Riviere de Canada, et Cotes de l’Ocean en la Novvelle France, 1609
Engraving; 7 x 17 inches
Estimate: $40,000 - 50,000
71
151
Samuel de Champlain’s Final and Most Detailed Map: A Landmark in the Mapping of the
Great Lakes, New England and Canada
Samuel de Champlain
Carte de la nouvelle France
Engraving: 20 ½" x 34"; Paris, 1632
Estimate: $90,000 - 110,000
Guidance: Sotheby's May 9, 2012. Lot 180. $102,737
Samuel de Champlain’s landmark maps set a precedent for generations of cartographers, and many mapmakers of later decades had a great deal of
difficulty matching the renowned explorer's standards of accuracy and meticulous detail. This map and the voyages it records not only helped
establish French dominion in North America, but at the time, represented the most successful combination of scientific discovery and skilled artistry ever published. No maps better relate the excitement of New World exploration than those of Champlain.
Carte de la nouvelle France was Champlain's final and most detailed map. Like his map of 1613, it is extremely rare, and continues the explorer/
cartographer's standard of accuracy, attention to detail, and striking decoration. A large, two sheet map, Carte de la Nouvelle France was published
in Champlain's most complete account of his voyages, which described the events of Nouvelle France up to 1629. Considered by many his finest
map, it is of interest not only for the comprehensive summary it provides of French knowledge of Acadia and the St Lawrence valley at the time,
but above all because of its representation of the Great Lakes. For the first time all of them except Michigan appear. "Lac St. Louis" is Lake Ontario,
leading up to "a fall of water at the end of the Falls of St. Louis, very high, where many kinds of fish are stunned in descending." A rudimentary
Lake Erie is followed by a more recognizable "Mer douce," now Lake Huron, the "freshwater sea." "Grand Lac," Lake Superior, which Champlain
never actually saw, is here depicted for the first time in recognizable form on a map.
The map contains far greater detail than any of Champlain's earlier productions, extending as far south as the Virginia colonies. The Hudson River
called the "Riviere des trettes," and Long Island is "Isle de l'Ascension." An illustration of a church serves to indicate the Dutch presence in the
region, and is considered the first delineation of present day New York City on a printed map. There is no reference to the English in New England,
as perhaps Champlain thought that to recognize the British stronghold on the area was to acknowledge a strong competitor. Champlain's huge sea
to the north forms part of the hypothetical Northwest Passage, and the coat of arms of Louis XIII lays claim to the vast expanse of northern Canada.
Carte de la Nouvelle France, like Champlain's map of 1613, provided invaluable knowledge about unknown areas, and remains a corner stone
document in American and Canadian cartography.
72
152
John Smith (1580-1631)
Virginia
Burden, State 9
Engraving: London, 1612 (1624-32)
Estimate: $30,000 - 40,000
Guidance: Sotheby’s Benevento Collection, London, May 6,
2010, Lot 29, Sold for GBP34,850 or $55,760
America
153
John Smith (1580-1631)
New England the most remarqueable parts thus named by the high and
mighty Prince Charles, Prince of great Britaine. Observed and described
by Captayn John Smith” from The General Historie of Virginia, NewEngland and the Summer Isles
State 5
Estimate: $60,000 - 70,000
Guidance: Swann December 9, 2004. Lot 193. $41,400
America
154
Henry Briggs
For inclusion in the Atlas by Samuel Purchas: The North Part of
America from Hakluytus Posthumus or Purchas His Pilgrimes...
Engraving: 11 1/2” x 14 1/8.” London: William Stanley for
Henrie Featherstone, 1625-26.
Estimate: $10,000 - 15,000
America
73
155
Joannes de Laet
Nova Anglia, Novvum Belgivm et Virginia
Leyden: 1630
Engraving with original hand colored
15” x 12”
Estimate: $4,000 - 5,000
No Reserve
America
156
Ogilby
Noua Terrae Mariae tabula
1671
Engraving
12 x 15 1/2 inches
Estimate: $12,000 - 15,000
America
74
157
Nicholas Sanson (1600-1667)
Amerique Septentrionale
3rd State, 1659
Engraving with original outline color
Estimate: $6,000 - 8,000
No Reserve
America
158
Nicholas Sanson (1600-67)
Le Canada, ou Nouvelle France, & c.
Copperplate engraving with original color
Plate size: 16" x 21 3/8"; paper size: 17 3/4" x 22 3/4"
Paris: Pierre Mariette I, 1656
Estimate: $6,000 - 8,000
No Reserve
America
John Foster
A Map of New England, 1677
1st English Edition; Woodcut
12 x 15 inches
Estimate: $70,000 - 80,000
159
America
From HUBBARD, William (1621? - 1704) “The Present State of
New - England Being a Narrative of the Troubles with the
Indians in New - England,...London: Tho. Parkhurst, 1677, 4to.
(8 x 6 2/8”). Contemporary sheep, r ebacked preserving the
original spine. Free endpapers renewed. Provenance: With the
near contemporary pen trials of Richard Wiyth dated 1699 on
the preliminaries and last leaves. English edition of the 1st map
to be printed in America.
75
160
Thomas Holme
A Mapp of ye Improved part of Pensilvania in America, Divided into
Countryes Townships and Lotts, 1687
Engraving with original hand color
15 1/2 x 21 inches
Estimate: $60,000 - 70,000
America
161
Guillaume DeLisle
Carte du Canada ou de la Nouvelle France
2nd state, Quai de l'Horloge...
Hand-colored engraving
Paris, 1703
27 x 20”
Estimate: $2,000 - 3,000
No Reserve
Reference: Page141 , Plate 80 in Schwartz’s The Mapping of
America
162
Guillaume Delisle (1675-1726)
Carte du Mexique et de la Floride, 1703
1st State
Published in Paris on Rue des Canettes
Estimate: $20,000 - 25,000
America
76
The First Map to Name Texas and to show the Missouri River
163
Guillaume Delisle (1675-1726)
Carte de la Louisiane et du Cours du Mississippi
1st edition, 1718
Copper-plate engraving with original hand color: 201/2" x 271/4"
Estimate: $30,000 - 40,000
164
Henri Abraham Châtelain (1684-1743)
“Carte tres curieuse de la Mer du Sud...” from Atlas historique ou nouvelle introduction a l’histoire...
Copper-plate Engraving
17 1/2 x 56 1/2 inc hes (each)
Amsterdam, 1719
Estimate: $15,000 - 18,000
77
William Price’s Issue of John Bonner’s “The Town of Boston in New England” The First Printed Map of Boston
165
John Bonner (1643-1726) and William Price (ca. 1685-1771)
A New Plan of ye Great Town of Boston in New England in America
Sheet size: 19 3/16” x 24 5/8”; Boston: Francis Dewing, 1769
Estimate: $250,000 - 300,000
Guidance: Northeast Auctions February 23-25, 2007. Lot 421. $220,500
78
The Earliest Large Scale Map of North America,
The First Printed Map to Name the Thirteen Colonies, and the Best English Representation of North
America Prior to John Mitchell's Landmark Map of 1755
166
Henry Popple
A Map of the British Empire in America...
London: William Toms, 1733
First Edition; Ten maps: twenty sheets; Each measuring: 24 1/4” x 43 1/4”; Hung as a whole:
125 1/4” x 87 1/2”.
Estimate: $120,000 - 150,000
From the collection of Charles Frasier
79
167
Peter Jefferson and Joshua Fry
A Map of the Most Inhabited Part of Virginia,
containing the whole province of Maryland with part of
Pensilvania, New Jersey and North Carolina
Engraving with original hand color: two sheets,
each app. 31” x 49”
London, 1751 (1775)
Estimate: $60,000 - 70,000
Reference: Page 158, Plate 92 in Schwartz’s The
Mapping of America
168
Phillippe Buache (1700 - 1773)
“Carte de Nouvelles Decouvertes au Nord de la Mer du Sud”
Copper-plate engraving with original outline color: 18
3/8” x 26 3/8”
Paris, 1752
Estimate: $10,000 - 12,000
Reference: Page 161, Plate 94 in Schwartz’s The
Mapping of America
80
The Most Important Map in American History
169
John Mitchell
"A Map of the British and French Dominions in North America."
Engraving; 53" x 77"
3rd edition, c. 1773
Estimate: $200,000 - 250,000
81
170
Lewis Evans published by Robert Sayer and John Bennett
A General Map of the Middle British Colonies in America
Copperplate engraving, London, 1776
Estimate: $4,000 - 6,000
Reference: Page 165, Plate 98 in Schwartz’s The Mapping
of America
171
John Montresor
Map of the Province of New York, with Part of Pennsylvania , and
New England, from an Actual Survey by Captain Montresor,
Engineer, 1775.
Copperplate engraving with original outline hand color
Paper size: 58 1/2” x 37 1/4”; framed size: 63 1/8” x 42 1/4”
London: A. Dury, June 10, 1775
Estimate: $15,000 - 20,000
America
82
172
Christopher Colles (1739 - 1816)
A Survey of the Roads of the United States of America
New York: 1789
Quarto, original boards, paper label, as issued, with remnants of the original tie-strings. Engraved titlepage by C.
Tiebout and 83 engraved plates (34-39 missing, like all copies, as never published) by the same; copy of Colles’s
Prospectus and advertisement pasted to inside cover; enclosed in full solander case, spine gilt in 6 compartments
Estimate: $100,000 - 150,000
173
Alexander von Humboldt
Carte Generale du Royaume de la Nouvelle Espagne depuis
le Parallele de 16 jusqu’au Parallele de 38 (Latitude Nord)
Dressee Sur des Observations Astronomiques et sur
l’ensemble des Materiaux qui existoient a Mexico, au commencement de l’annee
1804, 1811
Estimate: $40,000 - 50,000
From Essai politique sur le royaume de la Nouvelle-Espagne;
F. Schoell, Paris, 1811. 3 volumes: 2 volumes text, 4to., (13
4/8 x 10 inches); and atlas volume, folio (22 x 1 6 inches).
Half-titles in eac h volume. With the dedication leaf and
4-page dedication to Charles IV. 21 engraved maps, profiles,
views, and charts on 19 sheets, four hand- color ed (some
intermittent pale spo tting.) Modern tan calf-backed black
marbled paper boards, spines gilt, b y Atelier Laurenchet.
Provenance: Bookplates of Jay T. Snider, Collection of
Historical Americana. Fir st edition, a v ery rare variant.
Reference: Page 227, Plate 139 in Schwartz’s The Mapping
of America
83
174
Abraham Bradley, Jr.
Map of the United States, Exhibiting the Post-Roads, the situations, connexions & distances of the Post-Offices...
Engraving with original hand color
Sheet size: 38 3/4" x 53"
Philadelphia, 1804
Literature: Schwartz and Ehrenberg, The Mapping of America, pl 136.
Estimate: $80,000 - 90,000
84
175
John Melish
Map of the United States with Contiguous British & Spanish Possessions
Copperplate engraving with original hand color
Engraved by J. Vallance and H.S. Tanner; 4th state
Philadelphia: John Melish, June 16, 1820
43 1/2” high x 56 1/2” long
Estimate: $60,000 - 70,000
85
176
J.H. Young
Mitchell’s Travellers Guide Through the United States. A Map of the Roads, Distances, Steam Boat & Canal Routes &c., 1835
Engraving on steel with original hand color
18 x 23 inches
Estimate: $3,000 - 4,000
No Reserve
86
The Map that was Used in the Treaty of Guadalupe Hidalgo to make Texas and California part of the united states,
Confirming Manifest Destiny for the Expanision of the United States from the Atlantic to the Pacific Ocean
177
John Disturnell (1801-1877)
Mapa de los Estados Unidos de Mejico...
31 1/2 x 43 1/2 inches
Line engraving with full original color
Folds into small case: 3 7/8” x 5 7/8”, with symbol of Mexican Republic and the English title, Map of the Republic of Mexico.
Published by J. Disturnell. New York
New York, 1846
Estimate: $90,000 - 110,000
Guidance: Neal Auction June 25, 2011. Lot 197. $107,550
87
The First World Map to Use a Copernican Projection
178
Hans Holbein and Sebastian Munster
Typus Cosmographicus Universalis
Woodcut
14 3/4 x 22 inches
Basle, 1537
Estimate: $25,000 - 30,000
88
The First Year of Texas as a Republic
179
James Hamilton Young
A New Map of Texas, with Contiguous American and Mexican States
12 3/4 x 15 1/4 inches
Phil.: Samuel Augustus Mitchell, 1836
Estimate: $15,000 - 20,000
89
A History of Globes & Globemaking
The terrestrial globe (spherical map of the earth) is the only true
cartographic representation of the earth and possesses several
advantages over a flat map, for distances, directions, and areas
are shown without the distortion that necessarily results from
projecting the three-dimensional earth onto a two-dimensional
surface. Although the ear th is not in actuality a perfect sphere
(having a larger diameter at the eq uator than at the poles), the
deviation is negligible at the scale of most globes. A celes tial
globe (spherical map of the heavens) takes the earth as its
imaginary center in showing the positions of the stars.
The celestial globe has a longer
history than the t errestrial globe.
Greek and Roman authors mention the existence of c elestial
globes as well as instances of their
use. Cicer o, in his treatise De
Republica, describes the use of
one by Archimedes (287-212
BCE). The f irst terrestrial globe,
on the other hand, was produced
by Krates of Mallos, around 150
BCE. After the fall of the Roman
Empire, the skills of geography
and astronomy were carried on
mainly in the Arab world, and it
was from this region that globes
were reintroduced into Europe in
the fifteenth century.
Nuremberg became the f irst
major center of globe production in Europe - the earliest extant
globe made there was a celes tial globe made in 1444, and
belonged to the mathematician and cardinal Nicolas of Cusa
(1401-1464). The earlies t surviving terrestrial globe from this
time was made b y Martin Behaim (1459-1506) in 1492, and
depicted the known world, a conception that was to be indelibly
changed that very year by Columbus's voyage to the New World.
Like two-dimensional cartography, globe making f lourished in
the Netherlands in the sixteenth century as the Dutch expanded
their exploration and sea trade. Over the course of the seventeenth century, the balance of power gradually shifted towards
France, and by the end of the eighteenth century, English cartographers and globemakers were the most prominent.
Globemaking techniques and m aterials have drastically
evolved since the earliest globes, made in the Classical world,
which were painted directly onto solid spheres. Islamic and
Chinese globes w ere almost always composed of a hollo w
spherical shell of metal upon which the geographical information was engraved. European globes w ere heavily influenced by earlier Islamic globes. From these they took many
of their most basic features: the mounting of the sphere in a
meridian ring, attached at the north and south poles; the
setting of the whole within a horizon ring. Yet globemakers
in Europe favored different methods
and materials than their Islamic
counterparts. Most Western globes
from the sixteenth century on were
made from a sphere com posed of
papier maché and plaster, which was
then covered with strips of paper,
called gores, upon which the cartographic images had been printed
beforehand. In some cases, gores
that were never assembled into a
globe have survived, and some publishers even published them in book
form, as f inished works in and of
themselves.
The innovation of assembling globes
from gores streamlined and facilitated the process, and remained the
favored method of g lobemaking
until the twentieth century. The
method developed in response to a cultural movement that
treated globes as symbols of status, education, and wealth.
Starting with Lorenz Beheim's 1517 purchase of both a terrestrial and a celestial globe, early modern consumers generally bought pairs of globes, together representing the entirety
of God's creation; a wealthy consumer could also purchase
an armillary sphere, a thr ee-dimensional model of the cosmos's geometry, which made explicit how the earth was tied
inextricably to the heavens.
90
Anders Akerman and Frederik Akrel
Untitled (“Celestial Globe”) and Globus Terraquerus
Both published in Stockholm, 1780.
Height (in stand) 37 in.; diameter 30 in.
Estimate: $90,000 - 110,000
180
180 continued
91
Groundbreaking Swedish Globe Pair
These globes, produced under the protection of t he Swedish
Academy by Anders Akerman, are monuments in eighteenth-century
globe making. The Cosmographical Society founded in 1758 laid the
foundations for the s tart of Swedish globe and map production.
Akerman, an en graver by trade and one of the Society’s members,
was almost single-handedly responsible for this development. The
globes he pr oduced were not merely copies of existing globes, but
were drawn on the basis of new observations.
Akerman
was
influenced by the
scientific accomplishments
of
members of t he
French Academy,
and like that
learned society,
the
Swedish
Academy actively
supported the
geographic activities of their members. For Akerman and his globes, the most influential of these
projects was the comprehensive work on c osmography
published in U ppsala in a collabor ative effort by S. Insulin, the
astronomer Friedrich M. Mallet, and the geophysicist and mineralogist Torbern Olaf Bergman. These academicians sought to promote
map and globe making in Sw eden through the Cosmogr aphical
Society, “Kosmografiska Sallskapet,” founded in 1758. As luck would
have it, Akerman - an ac complished engraver w ith an
interest in the mathematical sciences - was one of the Society’s members. With the financial backing of the Society, Akerman set up a
workshop for the production of globes. His first globes, a terrestrial
and a celestial one, were published in 1759. The scientific information for the terrestrial globe was provided by publications of the
Academy members and o thers, whereas the celestial globe
incorporated the latest available star catalogs of the English astronomer John Flamsteed and the French astronomer Nicolas-Louis de
Lacaille. Flamsteed’s Catalogus Britannicus, published in 1725, was
the first star catalog to be based on observations made with the aid
of a t elescope, and Akerman supplemented the information he
gleaned from that work with data from Lacaille’s highly accurate
catalog of 1756.
Akerman’s first pair of globes received the approval of the cosmographical society and was offered for sale at a price considerably
less than that for foreign globes. With further funding from the
society enabling him to take on two apprentices, Akerman continued the production of his globes. In 1762 he designed a pair
with a diameter of 41/2 inches; four years later he produced a
pair of globes with a nearly two-foot diameter. With the production of these globes, Akerman's workshop was under financial
pressure despite several more subsidies. Commer cially he w as
not doing well, probably because to serve the local Swedish market his globes had t o be t oo inexpensive to allow financial so
lvency to their maker.
Akerman died in poverty in 1778. His workshop became the
property of the Swedish state and Frederik Akrel, engraver and
long-time assistant of Akerman, was appointed its head. When
Akrel took over the workshop, its f inancial sponsorship also
shifted, from the Cosmographical Society to the Royal Academy
of Sciences in S tockholm. In 1 779 Akrel published a ne w,
revised version of the one-foot globes, incorporating the lat est
discoveries, including those of Captain James Cook, and in the
ensuing years improved versions of the other pair of two-foot
globes followed. The present pair represents an early im proved
version, published in 1 780, of Akerman's largest and most
impressive globes. The t errestrial globe in interesting from a
cartographical point of view because it is one of the first modern
maps to show the T orres Strait (between Australia and New
Guinea). After its discovery in 1606, this strait had fallen into
complete oblivion. U nder the influence of the geographer
Torbern Olaf Bergman, one of the founders of the Cosmographical
Society, various thematic elements from physical geography were
added to the map, such as the vegetation (woods), the direction
of trade winds and monsoons, and
the ocean curr ents.
92
Gorgeous English Globe Pair
181
Both of these gorgeous globes are constructed from twelve handcoloured engraved gores which are applied to a papier mac he
sphere. Many of the countries have coloured outlines and
arrows indicate the trade winds and monsoons over the oceans;
constellation figures are also colored. Both have brass hour and
meridian rings, pointed screw on to the graduated brass meridian ring, and a horizontal ring printed with zodiac, calender
scales, and compass directions.
John Senex (fl. 1690-1740) cartographer and engraver worked in
London since 1702. In 1728, Senex was made a F ellow of the
Royal Society, and after this date added the abbreviation ‘F.R.S.’
after his name. After Senex’s death James Ferguson acquired the
Senex copper plates for the gores at auction in 1755. He amended them but unfortunately due t o debts had t o sell them.
Around 1756 he sold the plates on to Benjamin Martin.
Subsequent to Martin, Dudley Adams also published a new
edition of Senex’s globe.
John Senex
A New Terrestrial Globe... and
A New Caelestial Globe...
Published in London, ca. 1756
Height (in stand); 17 in.; diameter 17 in.
$60,000 -75,000
182
Smith’s Stunning Globe Pair
Smith's terrestrial contains the courses of the “most celebrated
circumnavigators” and the celestial globe contains all the principal stars as calculated and detailed in the works of Wollaston,
Flamsted, De La Caille, Ha velius, Mayer, Bradley, Herschel,
Maskelyne, and the Transition of the Astronomical Society
of London.
The globes are constructed of hollow papier-mache hemispheres
which join along the equator and are covered with several thin
layers of gesso plaster. Ont o which are laid the hand-color ed
copperplate engraving gores on laid paper. Eac h sphere is
placed in a f ine mahogany tripod stand, at the top of which is
the horizon ring encircling the cir cumference of each globe;
horizon rings both with laid down printed paper displaying the
months of the year and the signs of the Zodiac. The meridian
rings are brass, engraved with longitude markings. The mahogany stands terminate in brass shoes and casters surrounding a
central compass.
Charles Smith and Son
Smith’s Terrestrial Globe and
Smith’s Celestial Globe
Both published in London, ca. 1825
$40,000 - 50,000
93
183
Remarkable & Rare French Globes
These stunning globes were part of a group initially offered by
Didier de Vaugondy (1723-1786) in 1751 as a
subscription. He successfully reissued them in 1764 and in 1773,
although it is th ought that only approximately six globes now
survive. Of these, only one other pair of terrestrial and celestial
globes is known.
Didier de Vaugondy became the leading publisher of French
globes in the second half of the eighteenth century. His work
became renowned not only for his affinity for and abilities in
cartography, but also for his innovation in the mounting and
presentation of globes. His skills earned him the honored position of “Géogr aphe ordinaire du r oi” and the invitation of
Denis Diderot to contribute an essa y to the first edition of
Diderot’s Encyclopédie. Vaugondy produced a seven page treatise on the manufacture of globes describing each stage of the
process, from the c hoice of wood to the glue used to attach
the strips onto the globe.
Along with his brother Martin, Didier de Vaugondy developed
his cartographic skills in the workshop of his father on the quai
de l’Horloge near the Louvre. Here, they published maps and
atlases as well as re-editions of their great-grandfather Sanson’s
publications. By the time he was twenty, Didier de Vaugondy
published his first pair of globes. His most famous accomplishment is perhaps the royal commission he received for a pair of
globes for the use of the Navy. These w ere the lar gest globes
produced since those by Vincenzo Coronelli between 1688 and
1693 and were presented to and accepted by the Royal Academy
of Sciences towards the end of 1751.
Didier de Vaugondy
Globe celeste dressé par Ordre du Roi and
Globe terreste dressé par Ordre du Roi
Published in 1751 and 1772 respectively
Height in stand 451/2 in.; diameter 18 in.
$450,000 - 600,000
Guidance: Sold at The collection of Mr. & Mrs. Stephen C. Hilbert.
Sotheby's May 24, 2007. Lot 40 Graham paid $450,000
From 1784 until his death in 1786, Vaugondy worked along
with Nicolas Gabriel le Clerc and Dom Claude Bergevin on the
project for a globe of eight pieds (102 inches) diameter. The
globe is preserved at Versailles, although Vaugondy did not live
to see it completed.
94
The Venerable Newton Family
The venerable Newton family of cartographers was the leading English globemaking firm of the early nineteenth
century. The firm's history dates back to Nathaniel Hill of the mid-eighteenth century, who taught the art of globemaking to Thomas Bateman (fl. 1754-1781), who then trained John Newton (1759-1844), the patriarch of the Newton
firm. John N ewton began his firm in 1780, first publishing a r eissue of a Nathaniel Hill pocket globe
in partnership with William Palmer.
Soon after the turn of the nineteenth century, Newton was joined in business by his second son William (1786-1861),
changing the f irm’s name to J.& W . Newton. F rom 1831 to 1841, Miles Berr y, a civil engineer, was a
member of the firm. After 1841, ownership passed to William Newton's eldest son William Edward Newton (181879). Alfred Vincent (1821-1900) also became associated with the firm, and it remained in operation by subsequent
generations until the early twentieth century.
184
John and William Newton
Newton’s New and Improved Celestial Globe and
Newston’s New and Improved Terrestrial Globe
Both published in London, 1820.
Diameter 16 in.; height (in stand) 34 in.
$50,000 - 60,000
Comparable guidance: Sotheby’s, December 6, 2011, lot 111,
pair of 18” English globes by Newton, sold for GBP 87,650
95
185
America’s First Globe Maker
James Wilson was the f irst globe-maker in America. F rom
humble beginnings as a V ermont farmer, he went on to establish the premier globe manufactory of the New World, building
terrestrial and celestial globes similar to the London article but
at a much cheaper price. Like many early American engravers,
Wilson was largely self-taught. He tr aveled to Boston to learn
engraving under John Akin, and eventually became an apprentice of Amos Doolittle.
In 1810 he began producing his own globes, following the
model of a pair of Eur opean celestial and terrestrial globes
belonging to Mr. Miltmore of Dartmouth College. He began
making thirteen inch globes in 1821 and in 1835 Cyrus
Lancaster (having assumed leadership of the firm after the death
of Wilson's two sons in 1833) brought out a new edition of the
thirteen inch globe with the American eagle in the cartouche.
During James Wilson’s e xtensive self-instruction in the ar t of
globe making, he e xperimented little with methods of making
backgrounds to which he would adhere the results of his engraving. He started out by creating a large sphere of solid wood, and
covered it with paper and drew in the countries with pen and
ink. He was not concerned with the construction of the globe
and its mounting as much as he desired to become such a skilled
engraver that one would not be able to tell the dif ference
between a globe of his creation from the English models popularly used in the New World.
James Wilson and Cyrus Lancaster
WIlson’s New Thirteen-inch Celestial Globe... and
Wilson’s new American Thirteen-inch Terrestrial Globe...
Published in Albany, NY, 1835.
$30,000 - 40,000
The terrestrial globe gives a definitive view of the earth and its
explorations of the late eighteenth century. It sho ws Hawaii
called Sandwich Islands or Owyhee with notes on the death of
Cook in 1779 and with Hergest and two others in 1792. New
Holland or Australasia not yet divided into provinces. In North
America, Louisiana and Missouri are states but entire Northwest
called Missouri Territory and Southwest called Internal Provinces.
The celestial globe pr ovides an eq ually definitive view of the
heavens in the early nineteenth century. U rsa Major and
Minor, Leo the Lion and Leo Minor; Cancer; Taurus the Bull;
Pixis Nautic; the Mar Compass; Serpentarius; Virgo the Virgin;
Cetus the Whale; Sagitt arius the Ar cher; Bootes; Argonauvis
the Ship; Corona Borealis and many other figures are depicted.
96
185
Miniature silver Terrestrial Globe
After Oterschaden, Johannes (fl. 1580-1603)
Germany, 1575-1600 (circa)
Diameter: 2 1/2 inches
$50,000 - 60,000
Guidance: Christies November 15, 2006. Lot 23. $102,276
A Beautifully Detailed 16th Century Miniature Globe
This elaborate and finely engraved miniature globe
shows an intricately detailed image of the world. The
land shows mountains and rivers, named as profusely as
space allows, and the small crowns denote kingdoms.
The oceans are stippled and decorated with four sailing
ships and three sea monsters. The globe is joined along
the plane of the elliptic and holes at the N orth and
South Poles originally held suppor t pins. Several small
texts are found, in particular in the Southern Continent
below India, "Terra nove plane cognita Inventa Ao 1499"
and by the Moluccas, "Insula nove inventa." The globe
also names all the continents, Equator and tropics, the
oceans and some islands.
Modeled on the work of Johannes Oterschaden, this rare
and beautifully engraved miniature silver globe was probably made to form a part of a globe clock or elaborate armillary sphere. Elements of Oterschaden's geography almost
certainly derive from Francois Demongenet's terrestrial
globe of 1560. It is likely that the globe makers met while
working in southern France, Oterschaden for the Bishop
of Comminges and Demongenet at V ejoul in Franche
Comte. In addition, it seems likely that Oterschaden was
also in contact with the German globe maker Christoff
Schniepp and Willem Nicolai at Leiden because their
globes seem t o share the same source of geogr aphy.
186
97
Globe Terreste dresse par M. Bonne, Avec Privilege et Approbation de l'Academie Rle. des Sciences 1774
BONNE, Rigobert (1727-1795).
Paris, 1775
12-inch diameter (standing 22 1/2 inches high)
$60,000 - 70,000
Title in a decorative cartouche with some hand-colouring, made up of twelve engraved gores and two polar calottes; the graduated
equatorial alternately shaded and num bered by 10 degrees, the tropics and p olar circles shown with broken lines,
meridian not marked but longitude 360 degrees for Canary Islands; red-edged meridian with engraved paper scales carrying degree
scale for polar elevation, marking the climatic zones and scale for length of day, original paper hour-ring on possibly later card with
hour-pointer, the red-edged circular horizon with engraved paper scales for the Houses of t he Zodiac pictorially
represented, calendar and thirty-two compass points; on a highly decorative wooden stand with gold floral motif painted on black
composed of four turned columns united with cross-stretchers at a central column, on four bun feet.
187
An Exceptional
Louis
XV
Terrestrial Globe
showing all principle towns, rivers, roads and
mountain ranges,
coastlines
with hatching
and with further
green
handcolouring extending into the
Oceans, Australia
named Nouvelle
Hollande and
New
South
Wales marked
with incomplete coastline with broken lines f or interpolations which
include Tasmania as a peninsula named Terre de Diemen, coas tline of
New Guinea broken in places, New Zealand shown but no Ant arctic
lands, Baye de l'Oiseau 16 janv. 1774. marked South-East of Madagascar,
California named and shown as a peninsula, W estern coast of America
and Canada given but no de tail inland, unnamed Manitoulin island
shown in Lake Huron, no coast to North Canada, crude Alaskan outline,
second cartouche to South Pacific A PARIS, Chez Lattre, Graveur ordre.
de M. le Dauphin, de M. le Duc D'Orleans et de la Ville, rue S. Jacq. visa-vis la rue de la Parcheminerie. with decorative hand-coloured border.
The distinguished French engineer and Academician
Rigobert Bonne achieved a considerable reputation as a
cartographer, and it is his name that has been associated
with the 6-, 8- and 12-inch globes rather than that of the
engraver and publisher Jean Lattre (fl. 1722-1788),
whose stock would later be purchased by CharlesFrancois Delamarche.
This present one-foot diameter terrestrial represents the
first and largest appearance of Bonne's coartography on
a globe. In 1775 the famed astronomer Joseph Jerome le
Francais de Lalande (1732-1807) completed a complementary celestial globe, also engraved by Lattre, and the
two were advertised as a pair in a pamphlet published by
Lattre, entitled Nouveaux globes celeste et terrestre, d'un
pied de diametre, le celeste par M. de La Lande,... le terrestre par M. Bonne (Paris, 1775). Although Baie de
l'Oiseau is marked with the date 16 January 1774, it was
actually on the 6 Januar y 1774 that Kerguelen officially
took possession of the bay in the name of the King of
France, in the course of his second voyage to the
southern hemisphere.
The gold floral motif bears a similarity to those found on
two Jean F ortin pocket globes h eld at Gr eenwich
(GLB0031 & GLB0045) from the same period. Dekker,
E. Globes at Gr eenwich (Oxford, 1999); Stephenson,
E.L. Terrestrial and Celestial Globes (Yale, 1921); Tooley,
R.V. Tooley's Dictionary of Mapmakers (Tring, 1979).
98
188
KEULEN, Joannes van (1654-1715) and Gerard van KEULEN. De Groote Nieuwe Vermeerderde Zee-Atlas ofte
Water-Waerld. T'Amsterdam: Gerard van Keulen, 1706.
Estimate: $700,000 - 900,000
2 volumes. Folio (25 4/8 x 15 6/8 inches). 2 engraved allegorical frontispieces HEIGHTENED IN GOLD, and 175
EXCEPTIONALLY FINE double-page engraved charts ALL WITH ORIGINAL HAND-COLOUR IN FULL, including 19 folding ("Oost Indien" and first "West Indische Paskaert" cropped at upper edge, second "West Indische paskaert" cropped at lower edge, one or two maps backed on japan paper). Contemporary Dutch speckled calf gilt, each
cover decorated with borders of gilt roll-tools with armillary sphere tools at each corner, and central medallion of
Atlas carrying the world.
Provenance: each chart with manuscript title in French.
An Exceptionally rare and complete copy , with only
one other atlas with 160 charts to appear at auction
in the last 30 years. With 175 charts, coastal profiles,
and plates, and as such ONE OF THE LARGEST
SEA ATLASES COMPILED BY THE HOUSE OF
VAN KEULEN. An intermediate state between
Koeman Keu 20B (dated 1695 and containing 160
charts) and Keu 28 (dated 1709 and containing 185
charts), of which this atlas shares 110 and 135 respectively. Johannes van Keulen established himself in
Amsterdam in 1678 and in 1680 he obt ained a
privilege from the S tates General of Holland and
West Friesland allowing him to print and publish maritime
atlases and shipping guides. This privilege, which protected
against the illegal copying of printed material, was especially
important for the car tographer’s atlases, which were produced with extensive initial costs. Van Keulen named his firm
“In de Gekr oonde Lootsman” (In the Crowned Pilot), and
began collaborating with cartographers Claes Janz V ooght
and Johannes van Luyken. The firm would go on to become
one of the most successful publishing firms in Amsterdam;
and produce “the lar gest and f inest marine atlases in
Holland” (Koeman).
[email protected]
99
188 continued
In this atlas the five navigational books are
divided by large double-page folding maps
rather than allegorical frontispieces. All of the
19 folding maps are rare, but of par ticular
interest are the "West Indische Paskaert" (two
copies) first issued by Willem Blaeu in ca
1630, and of landmark importance as the first
"sea chart depicting N orth America on the
Mercator projection" (Burden). The "Oost
Indien" or chart of the East Indies is a particular rarity. It was first published by Pieter Goos
in ca 1660, and extends from the Cape of
Good Hope to Japan: "a com plete survey of
Dutch expansion in the East Indies and takes
into account Tasman's two voyages of exploration" (Schilder).
Weft Indifche Paskaert
Van Keulen's first atlas was his "Zee Atlas" with
about 40 charts. "The culmination in the
development of Dutch pilot books was reached
with the publication of "De Nieuwe Groote
Lichtende Zee-Fackel…" in 1681...
The work was immediately recognized as superior to anything else on the market and
enjoyed a considerable reputation for accuracy
and detail” (Martin & Martin, 11).
On the death of Joannes in 1704 the f irm
passed to his son, then his grandson, and on
the death of Cornelis Buy s van K eulen the
name of the firm "was altered after much palaver into Gerard Hulsst van Keulen. The surviving son conducted the publishing business
with more ambition than bef ore. A considerable number of books appeared in the period
1778-1801. Greater activity was developed in
the cartographic branch and new issues of the
"Zee-Fakkel" again saw the light" (Koeman page
IV 279). Cf Koeman IV Keu 20B & Keu 28.
Wassende Graade Paskaart
100
189
A Complete Set of the First Editions of the Voyages of Discovery
COOK, Capt. James (1728-1779)
Estimate: $40,000 - 60,000
Guidance: Christie's New York, Apr 16, 2007, lot 120, $60,000
HAWKESWORTH, John (1715-1773). An Account of the Voyages undertaken by the Order of His Present Majesty for making Discoveries in the
Southern Hemisphere, And successively performed by Commodore Byron,
Captain Wallis, Captain Carteret, And Captain Cook, In the Dolphin, the
Swallow, and the Endeavour. London: W. Strahan; and T. Cadell, 1773. 3
volumes, 4to (11 2/8 x 9 inches). With "A Description of the Cuts" (without
"Directions for placing the cuts and charts"). Large folding maps of "Part of
the South Seas" (without "The S traights of Magellan"), and 40 fine doublepage and or folding engraved plates and 10 full-page plates of views, flora
and fauna, charts and maps particularly of the Society Islands (Tahiti etc),
New Zealand and the eas tern coast of Australia (some occasionallyheavy
spotting and offsetting, and marginal staining). First edition.
COOK, Capt. James (1728-1779). A Voyage towards the South P ole, 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, 4to., (11 2/8 x 9 inches). Engraved portrait frontispiece, large folding chart of the Southern Hemisphere and 30 fine double-page and or folding engraved plates and 32 full-page plates of views, flora and fauna, charts
and maps, particularly of the Friendly Islands (Tonga), New Zealand, and
the southernmost tip of America, one folding letterpress table (some
occasional spotting, browning and offsetting). First edition.
COOK, James and James KING (1750-1784). A Voyage to the Pacific Ocean. Undertaken, by the command of His Majesty, for making
Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from
Asia; and the Practicability of a Northern Passage to Europe. London: G. Nicol, 1784.
Atlas Volume: Folio (21 6/8 x 16 4/8 inches): one large engraved folding double-page chart “A General Chart of the Discoveries made by
Capt.n. James Cook” (tears at folds), double-page chart of the “S.W. Coast of America and N.E. Coast of Asia” and 61 full-page plates of
views, artifacts and portraits (some occasionally heavy spotting); 3 text volumes: 4to., (11 2/8 x 9 inches) with 24 engraved charts, coastal
profiles and plans, most folding (some occasional spotting). First edition. Together 9 volumes, uniformly rebacked in an 18th-century style,
contemporary calf covers (extremities worn, and one or two hinges weak). [Cook] was the first really scientific navigator, and his voyages
made great contributions to many fields of knowledge” (Hill). “In three great voyages Cook did more to clarify the geographical knowledge
of the southern hemisphere than all his predecessors together had done. He was the first really scientific navigator, and his voyages made
great contributions to many fields of knowledge” (Hill). Cook conducted his three voyages between the years of 1768 and 1779. During
his expeditions, the British naval officer traversed the South Pacific three times, twice braving into the Antarctic Circle. He was the first
European to make contact with the Eastern coast of Australia: “The date of Captain James Cook’s exploration of the eastern coast marks
the beginning of a new era in the history of Australia. Cook took possession of the country for Great Britain. From the
resemblance of its coasts to the southern shores of Wales, he called it New South Wales” (Jenks). First edition.
Hill 783, 358, 361; Edward Jenks “The Great Events Vol. XVII p.238; Holmes 5, 24, 47; Mitchell Library Cook 648, 1216, 1552; Sabin
30934, 16245; 16250.
[email protected]
101
190
The Most Important Dutch Atlas of the 17th Century
BLAEU, Joannes (1596-1673)
Atlas Major, sive cosmographie Blaviana
Estimate: $300,000 - 400,000
Amsterdam: Joannes Blaeu, 1662., 1662. 11 volumes, folio (21 x 14 inches).
Latin text. 11 letter-press title-pages with engraved vignettes. 9 engraved frontispiece title-pages (without those for volumes II, III and XI), half-titles to volume
X, part 2 (China), and 597 ENGRAVED MAPS, PLANS AND PLATES, most
maps double-page, 3 folding, some full-page or in the text, including 9 plates of
Tycho Brake's astronomical instruments, including one with his portrait, in
volume I, views of Stonehenge and Avebury in volume V, 7 plates of the Escortai
in volume IX, FINELY COLOURED THROUGHOUT IN A CONTEMPORARY
HAND, INCLUDING FINELY COLOURED FRONTISPIECES AND SUBTITLES HEIGHTENED
Guidance: Sold at Sotheby’s, London, May 10, 2007, lot 150 for GBP 264,000 or $435,600.
WITH GOLD (some browning and spotting especially heavy in volumes about Germany, Belgium, England, Asia and Africa, one or two
early marginal repairs occasionally touching the image, some marginal waterstaining). Contemporary Dutch gilt panelled vellum (spine
of volume VI lacking 3” section of vellum, modern printed paper spine labels, a bit marked.
Provenance: from the library of the Royal Scottish Geographical Society, with their small ink library label on some end leaves and the
margins of some plates.
This splendid, sweeping atlas represents the eleven-volume first edition of Johannes Blaeu's celebrated cartographic masterpiece, the
"Atlas Maior", published in Ams terdam in 1662. With different
volumes devoted to specific parts of the world, including Northern
Europe; Northern and Eastern Europe; Germany; Netherlands;
England and Wales; Scotland and Ireland; France and Switzerland;
Italy; Spain, Portugal and Africa; Asia; and America. Blaeu lavished
meticulous attention on every corner of the globe. No other atlas
ever published was as costly, or had such an exalted place in society.
The "Atlas Maior" was such a symbol of status that it became the
traditional state gift presented by the Dutch government, its prestige owing to the remarkable standards of production involved. In
terms of the quality of engraving, beauty of ornament, coloring,
typography and paper, the atlas has no equal, and the maps were on
the forefront of geographical knowledge and discovery. One especially significant volume is the "Atlas Sinensis", devoted to China
and the Far East. Compiled by the Italian Jesuit Martino Martini,
it represents the first atlas of China produced in the western world.
The atlas of America, t oo, occupies a singular place in the history
of cartography, for its twenty-three maps helped to shape contemporary conceptions regarding the geography of the New World
more than almost any other source. Included in that volume is a
general map of the continent, famed for its side panels that contain
costumed figures and city views, as well as a distinguished series of
regional maps.
The map of Virginia was the first version of John Smith's map of the
area surrounding Chesapeake Bay to be published in continental
Europe. The scope of the "Atlas Maior" as a whole was unprecedented, as was the lavishness of its decoration, which encompasses elaborate cartouches, often with costumed figures and the flora and fauna
of the region described, decorative swags, garlands of fruit and coats
of arms, all enliv ened with rich color. The Blaeu family firm was
founded by Willem Janzoon Blaeu (1571-1638) in 1596. He was
eventually joined by his sons, Cornelius (1616-1648) and Joan (15961673). The firm became the most productive cartographic establishment in the Netherlands until it was destroyed by fire in 1672. The
elder Blaeu initiated the great series of atlases that culminated in the
"Atlas Maior", in whic h Joannes Blaeu incorporated much of the
geographical knowledge bequeathed him by his father. This breathtaking atlas r epresents the zenith of the Golden Age of Dutc h
Cartography. Truusje Goedings, renowned specialist in Dutch
colourists of the 17th-century writes of this copy: "All title-prints of
this copy are extensively coloured with a lavish addition of gold.
Especially the title-page of volume oneI is richly coloured and heightened with gold, with a rare overall app.
[email protected]
102
190 continued
103
New York, New York
Evening Sale,
Lots 191 - 250
Unable to attend the auction in NYC on December 5th? Feel free to contact Guernsey's to arrange for absentee telephone bidding. You
can also bid in "real time" on the Internet at liveauctioneers.com or send in the Absentee Bid Form at the back of this catalogue.
Thank you.
104
191
Thomas W. Whitley (Active 1835-1865)
View of New York City from Hoboken, New Jersey, 1865
Oil on paper laid on panel; Paper size: 13 1/2” x 26 1/4; Handso mely framed; Signed and dated l.l.
Estimate: $75,000 - 90,000
192
Nicolino Calyo (1799-1884)
View of New York City as It Appeared on the Eve of the Fire, 1835
Gouache on paper; Paper size: 28” x 20”
Signed, dated, and inscribed lower center and lower right
Estimate: $90,000 - $110,000
105
193
194
Frederick Catherwood and Henry Papprill
New-York. Taken from the Northwest Angle of Fort Columbus, Governor’s Island; New York, 1846
Aquatint: plate size 161/2” x 261/2”; framed size 281/2” x 375/8”
Estimate: $10,000 - 12,000
William W. Mather
Geological Map of Long and Staten Island with Environs of New York; New York, 1842
Hand-colored Lithograph
Paper size: 54" x 25"; Handsomely framed
Estimate: $4,000 - 5,000
No Reserve
106
195
View of Lower New York from Jersey City
Gouache on paper ; 12 1/2 inches high x 19 inches wide
Handsomely framed in gilded frame of the period
Estimate: $65,000 - 75,000
196
View of New York, Taken from Hoboken
Gouache on paper ; Framed size: 17 7/8” x 22 5/8”
Estimate: $15,000 - 20,000
197
The East River Looking Southwest, Blackwell’s Island
In Foreground, The Navy Yard at Extreme Left
Gouache on paper ; 12 1/2 inches high x 19 inches wide
Handsomely framed in gilded frame of the period
Estimate: $65,000 - 75,000
107
198
199
John Ruben Smith
View of Battery Park at Castle Garden, New York City, 1845
Oil on Canvas: framed size 20” x 24”
Estimate: $6,000 - 7,000
No Reserve
Eduard Hildebrandt (1818-1869)
N.Y. Harbor
Watercolor on Paper; 10 x 7 inches
Estimate: $8,000 - 10,000
No Reserve
108
200
Rudolf Daniel Ludwig Cronau (1855 - 1939)
9 West 57th Street, New York, New York
Handsomely framed; Watercolor and
gouache on paper
Signed lower left: (c) Rudolf Cronau
Estimate: $12,000 - 15,000
201
Reginald Marsh (1898-1954)
New York Skyline, 1937
Paper size: 19 x 13 inches
Handsomely framed; Watercolor on paper
Signed and dated lower right
Estimate: $35,000 - 40,000
109
202
Brooklyn, NY, 1854
Engraving by Wellstood & Peters, B.F. Smith, Junr., delineator, published by Smith, Fern & Co., New York, 1854.
Handsomely framed
Estimate: $12,000 - 18,000
203
C. Mottram and J.W. Hill
New York View
Modern restrike from the original steel plate; 40 x 59 1/4 inches; Handsomely framed
Estimate: $2,000 - 3,000
No Reserve
110
204
Robert Havell, Jr. (1793-1878)
Niagara Falls, 1878
11 x 15 1/4 inches; Handsomely framed
Watercolor on paper
Estimate: $7,000 - 10,000
No Reserve
205
Niagra Falls
Oil on canvas; 29 x 40 inches; Handsomely framed
London, circa 1830
Estimate: $20,000 - 30,000
206
Paddle Boat on the Hudson, c. 1830
Oil on artist’s board; 11 3/4” x 18”; Handsomely framed
Estimate: $6,000 - 8,000
No Reserve
111
207
New York Palisades
Comprising nine paper panels, now mounted on three wood panels
Each of the paper panels measure 74 1/2” high x 56 1/2” long
Overall dimensions: 74 1/2” high x 169 1/2” long
Estimate for the set of 3: $15,000 - 20,000
208
Wade & Croome’s Panorama of the Hudson River
from New York to Waterford
Drawn from nature and engraved by William Wade
New York: Published by J. Disturnell , 1847
Estimate: $4,000 - 5,000
No Reserve
Detail, 208
112
207 continued
209
Picnic Along the Hudson
Oil on artist’s boar; Board size: 11 x 18 inches; Handsomely framed; London, circa
1830
Estimate: $3,000 - 4,000
No Reserve
113
“Military Review at West Point”
“Military Review at West Point” (one) 84” high x 41 1/2” wide; “Military Review at West Point” (two) 84” high x 55 5/8” wide; “Military Review at West Point” (three)
84” high x 41” wide.; Overall dimensions approximately: 84” x 139”
Estimate: $8,000 - 10,000
210
114
“Boston Harbor”, “Natural Bridge of Virginia”, and “Niagara Falls”
Mounted on five wood panels
“Boston Harbor ”(one) 84” tall x 48”wide; “Boston Harbor ”(two) 84” tall x 52 3/4”wide;“Boston Harbor ”(three) 84” tall x 46 1/2” wide
“Natural Bridge of Virginia”84” tall x 63 1/2” wide
“Niagara Falls” 84” tall x 21 5/8” wide
Overall dimensions approximately: 84” x 232 3/8”
Estimate: $15,000 - 20,000
211
115
212
C. Bachmann
View Looking South from Union Square, 1850
23 1/4 x 31 inches; Handsomely framed; Lithograph with original hand color;
Published by Williams & Stevens 353 Broadway
Drawn from nature and on stone by C. Bachman ; Lith of Sarony & Major 117 Fulton
St, NY
Estimate: $10,000 - 12,000
213
Drawn & Etched by Thomas Hornor; Aquatinted by J. Hill
Broadway, New-York. Showing each building from the Hygeian Depot corner of Canal Street to
beyond Niblo’s Garden
Etching and Aquatint; 33 x 41 inches; Handsomely framed; Published by Joseph
Stanley & Co., New York, 1836
Estimate: $10,000 - 12,000
116
215
214
William Bridges (fl. c. 1800 - 1820) and
Engraved by William Rollinson (1762-1842)
Map of the Hudson between Sandy Hook &
Sandy Hill With the post road between
New York and Albany
Copper plate engraving; 102 3/4 x 9 3/4”;
Handsomely framed
A.T. Goodrich & Co.: New York ;
1820 [1824]
Estimate: $3,000 - 4,000.
No Reserve
Published by Wm F. Link, 1878
Paper size: 107 x 5 1/2 inches
Handsomely framed
Lithograph with original hand color
Estimate: $4,000 - 5,000
No Reserve
117
216
William Birch (1755-1834)
View from the Seat of Mr. John Stevens, Hoboken, New Jersey,
c. 1808
Watercolor with pen and ink on paper
Estimate: $40,000 - 45,000
217
William Birch’s Original and Unique Drawing for his
Engraving of New York City (lot 218)
Detailed Watercolor View of New York City, c. 1801
Watercolor, with pen and ink and graphite on paper
Paper size: 9 1/8 x 13 7/8 inches; Handsomely framed
Estimate: $125,000 - 150,000
218
William Birch (1755-1834)
The City of New York in the State of New York North America,
c. 1803
Copperplate engraving with coloring
Estimate: $10,000 - 12,000
118
219
220
Currier & Ives
View of New York, c. 1860
Hand-colored lithograph; 19 1/2 x 13 1/2 inches; Handsomely framed
Estimate: $3,000 - 4,000
No Reserve
William Burgis (?) Engraved by John Carwitham
A View of Fort George with the City of New York from the S. W.
Copperplate engraving with original hand color; Date depicted: ca. 1731-1736; published by
Carington Bowles: London, ca. 1764
Handsomely framed
Estimate: $15,000 - 18,000
119
221
Pierre Charles Canot (1710 - 1777) after Captain Thomas Howdell
A Southwest View of the City of New York in North America
Engraving; London, 1768
Estimate: $16,000 - 18,000
222
Pierre Charles Canot (1710 - 1777) after Captain Thomas Howdell
A South East View of the City of New York in North America
Engraving; London, 1768
Estimate: $16,000 - 18,000
120
223
224
Nathaniel Currier (1813 - 1888) after Frances Palmer (1812 - 1876)
View of New York
Lithograph with Hand-color; New York, 1849.
Estimate: $7,000 - 10,000
No Reserve
Currier & Ives, after Charles R. Parsons and Lyman W. Atwater
The Port of New York
Lithograph with original hand-color; New York: 1878
Paper size: 36 1/2 x 26 inches; Handsomely framed
Estimate: $12,000 - 15,000
121
Published by George Stinson & Co.
View of New York
Lithograph with original hand color; Portland, Maine, circa 1870
Estimate: $3,000 - 4,000
No Reserve
225
226
John Hill after William G. Wall
New York from Governor’s Island From the Hudson River Portfolio
Aquatint engraving with original hand color; New York, 1820 - 28
Estimate: $12,000 - 15,000
122
227
John Montresor (1736 - 1796)
A plan of the city of New-York & its Environs to Greenwich, on the North or Hudsons River,
and to Crown Point, on the East or Sound River, Shewing the Several Streets, Publick
Buildings, Docks, Fort & Battery, with the true Form & Course of the Commanding Grounds,
With and without the Town . Survey'd in the winter, 1775
Hand-colored copperplate engraving; Peter Andrews, 1775
Estimate: $60,000 - 70,000
123
228
The Largest 18th Century Map of New York State
Claude Joseph Sauthier (1736-1802)
A chorographical map of the province of New York in North America,
Divided into counties, manors, patents, and townships;
Exhibiting likewise all the private grants of land made and located
In that province...
Copperplate engraving with full original color
Paper size: four panels, 37” x 27 1/2”
Overall frame dimensions: 82” x 64 1/4” (apt 7’ x apt 5’)
London: William Faden (engraver), 1 August 1779
Estimate: $30,000 - 40,000
229
William Faden
A Plan of New York Island, with a part of Long Island, Staten Island, &
East New Jersey…
Copper-plate Engraving
Frame Size: 39" x 32"
Paper Size: 29" x 22"
London, 1776
Estimate: $15,000 - 18,000
124
230
Original Utopian View of Long Island's "Gold Coast”
Morris Shriver
View of Long Island
57 1/2” x 20 1/2”
Handsomely framed
Gouache on paper
Inscribed lower right: Morris Shriver 1420 Chestnut St Phila.
Estimate: $20,000 - 30,000
About the time Jay Gatsby was gazing across Long Island Sound, architectural
artist Morris Shriver was producing this handsome, fascinating birds-eye
elevation of the newly developing "Gold Coast" of Long Island. Concentrating on
Kings Point (named for good reason) and the surrounding villages of Great Neck and
Manhasset, Shriver incorporated great existing mansions (Walter P. Chrysler's) while imagining what the future landscape of this
desirable setting might be. Less than an hour from New York City, the Gold Coast was already considered one of the "ritziest"
addresses outside the City.
Depicted in this unique painted elevation is the boat-filled Long Island Sound with Fairfield County, Connecticut in the background,
and New York City to the west.
125
231
John Hill (1770 - 1850)
William Wall (1792 -1864)
New York from Weehawk
Aquatint engraving with original hand color; New York, 1823; 19 1/2 x 27 1/2 inches;
Handsomely framed
Estimate: $9,000 - 10,000
No Reserve
232
Petrus Schenk (1660 - 1718)
View of Nieu Amsterdam [New York City]' from Hecatompolis, sive Totius Orbis
Terrarum Oppida Nobiliora Centum...
From Hecatompolis, sive Totius Orbis Terrarum Oppida Nobiliora Centum; exquisite collecta atque eleganter depicta
Etching on paper; Amsterdam: 1702; 10 x 12 inches; Handsomely framed
Estimate: $7,000 - 8,000
No Reserve
126
Charles Huard (1874-1965)
The Original 1905 Drawings for “New York as I Saw It”
A Frenchman’s Impression of New York 100 Years Ago
Each Drawing is Sold with a copy of ‘Comme Je l'ai Vu [New York as I Saw It],’
233
Mrs. S. in her Feathered Hat
6 3/4” x 5 1/4”
Estimate: $1,000 - 2,000
No Reserve
236
234
People at the Clubs
8 7/16 x 6 3/8 inches
Estimate: $1,000 - 2,000
No Reserve
235
Engenue
8 7/16 x 5 1/2 inches
Estimate: $1,000 - 2,000
No Reserve
3Lakawanna Station
5 x 8 1/2 inches
Estimate: $2,000 - 3,000
No Reserve
127
237
239
St. Paul’s Building
9 5/8 x 5 5/16 inches
Estimate: $2,000 - 3,000
No Reserve
Riverside Park
8 3/4 x 6 7/8 inches
Estimate: $2,000 - 3,000
No Reserve
238
Wash Day in Harlem
6 7/8 x 8 3/8 inches
Estimate: $2,000 - 3,000
No Reserve
240
Peck Slip
6 1/2 x 7 3/4inches
Estimate: $2,000 - 3,000
No Reserve
128
241
242
City Hall
7 1/4 x 6 inches
Estimate: $3,000 - 4,000
No Reserve
243
Chinese Man in the Doorway of a Tavern
9 5/16 x 5 3/8 inches
Estimate: $3,000 - 4,000
No Reserve
The Majestic Theater
8 5/16 x 5 3/16 inches
Estimate: $3,000 - 4,000
No Reserve
129
244
246
Type on Broadway
8 5/16” x 5 1/4”
Estimate: $1,000 - 2,000
No Reserve
Business Man 5
5 1/4” x 3 5/8”
Estimate: $1,000 - 2,000
No Reserve
245
Vaudevillian Tramps
6 3/8 x 5 3/8 inches
Estimate: $1,000 - 2,000
No Reserve
247
A Boat Keeper
7 x 4 7/8 inches
Estimate: $1,000 - 2,000
No Reserve
130
248
A Policeman
8 15/16” x 6”
Estimate: $1,000 - 2,000
No Reserve
249
Female Golfer
12 5/16 x 11 5/8 inches
Estimate: $3,000 - 4,000
No Reserve
250
Four American Women
6 7/16 x 8 1/8 inches
Estimate: $1,000 - 2,000
No Reserve
131
American & European
Oil Paintings
Evening Sale, Lots 251 - 282
Unable to attend the auction in NY C on December 5th? F eel free to contact Guernsey's to arrange for
absentee telephone bidding. You can also bid in "r eal time" on th e Internet at liv eauctioneers.com or
send in the Absentee Bid Form at the back of this catalogue. Thank you.
132
The included essays were written by William H. Gerdts,
Professor Emeritus of Art History at the
Graduate School of the City University of New York.
He is known by members of the industry as the leading expert on
American painting in the United States today.
Dr. Gerdts is an expert in American Impressionism,
and he is also well known for his work on nineteenth-century American still
life painting.
He is the author of o ver 25 books on American art.
Some of the most recent are:
“The Color of Modernism: The American Fauves”
an essay published in 1997 for Hollis Taggert Gallery;
“Impressionist New York,” Abbeville Press, 1994;
&
“Art Across America. Two Centuries of Regional Painting:
1710-1920,” 3 vols, Abbeville Press, 1990.
For additional essays written by Dr. Gerdts, please contact
212-628-7625.
133
251
252
A. Gabriel (20th Century)
R.R.S. (National Antarctic Exploring Vessel) Discovery moored on the
Embankment
20 x 15 3/4”; Handsomely framed
Oil on canvasboard
Estimate: $6,000 - 8,000
No Reserve
Jan Claesz Rietschoof (Hoorn 1651-1719 Hoorn)
Oil on canvas
Canvas size: 33” x 48”; Handsomely framed
Estimate: $10,000 - 12,000
134
253
Dean Wolstenholme Jr.
A Pair of Hunting Scenes: The Hunt and After the Hunt
Oil on panel
14”by 18” framed
Estimate: $6,000 - 8,000
No Reserve
135
254
Robert Havell Junior (1793-1878)
At the Water’s Edge
Oil on paper, laid down on board
Board size: 8 1/4” x 11 1/4”; Handsomely framed
Provenance: Family of Robert Havell Junior
Estimate: $6,000 - 7,000
No Reserve
Both Robert Havell's artistic career and his residency partition into two very different divisions with only a minimum of overlap.
He was born into a family of artists and engravers I Reading, England, and early on mastered the art of engraving, working with
his father as an engraver by the early 1820s. He attained such expertise that around 1827, while employed by the prestigious
london publishing house, Colnaghi and Company, Havell was chosen by John James Audubon, then in England, to reproduce
the latter's famous bird paintings as engraved hand-colored aquatints. Havell worked on this immense project for the next eleven
years, even while finding time to illustrate a number of other books.
Havell was one of numerous painters associated with the Hudson River School who not only painted the river and its valley but
also resided there. From his residence there, and later in Tarrytown, he painted pictures of life on and along the river, emphasizing the harmonious and complementary domestication of the land. While may of Havell's paintings are panoramic views of the
communities on both sides of the Hudson and the interesting landscape formations of the area, he also painted more intimate
scenes such as At the Water's Edge. The pur pose of such a painting is no t documentary, but rather to evoke the beauty and
tranquility that had set in along the Hudson River by mid-century. Figures sit and stroll by the river path, farm animals approach
the stream, and different vessels ply their routes along the placid river. Havell worked in a bright, cheerful palette, and unlike his
fellow artists of the Hudson River School, Havell applied his paints in a q uietly dashing manl'1i!t., whic h added a gentle
exuberance to this intimate scene of country life-the environment which the artist and his family enjoyed themselves.
- William H. Gerdts
136
255
Double Sided Painting: Cattle Watering [top] & Morning South Wales [bottom]
Gouache, watercolor and pencil on board; oil on paper, laid down on board verso
Inscribed recto on a laid paper label: Morning South Wales Rbt. Havell
Estimate: $6,000 - 8,000
No Reserve
137
256
Cow Herders
Oil on panel
Panel size: 7” x 9”; Handsomely framed
Provenance: Family of Robert Havell
Junior
Estimate: $4,000 - 6,000
No Reserve
257
Hudson River Valley
Oil on canvas
Oil on paper, laid down on board
Board size: 11” x 18”; Frame size: 17 1/4”
x 24 1/8”
Verso: pencil sketch of houses and an
inscription by Harry Peck Havell in 1909
which reads: Robert Havell’s home,
Havell’s Lane, Sing Sing, New York
Estimate: $10,000 - 12,000
258
After the Deer Hunt
Oil on canvas
Canvas size: 25” x 33”; Handsomely
framed
Estimate: $10,000 - 12,000
138
259
Maurits Ernest Rudolph Hugo van den Kerkhoff (Philipine 1830 - 1908 Malang)
View of a Kampong with Possibly the Smeroe in the Background
Oil on panel
Signed lower left: M.v.d. Kerkhoff
Estimate: $18,000 - 25,000
139
260
261
Samuel Jepperson (1855-1931)
Lake Detroit
Oil on canvasboard
Canvasboard size: 9 1/2” x 14”; Handsomely framed
Signed with initials l.l.: SJ ; Titled and signed recto
Estimate: $1,000 - 2,000
Attributed to Giovanni Schranz
Maritime Scene
Oil on canvas
Framed: 23 x 15 inches
Estimate: $4,000 - 6,000
No Reserve
140
262
Aaron Harry Gorson
Industrial Landscape
Oil on Canvas: framed size 20 1/4 x 24 1/4 inches
Signed Lower Right: A H Gorson
Estimate: $5,000 - 7,000
No Reserve
Gorson was born in the industrial city of Kovno (now Kaunas) in lithuania when that region was still a province of imperial
Russia; (Kaunas was later the capital of lithuania between the two World Wars). In 1888, Gorson emigrated to the United
States, joining his brother in Philadelphia where he studied, first at the Spring Garden Institute and then from 1894-98 at
the Pennsylvania Academy of the Fine Arts under Thomas Anshutz; ironically, Gorson's teachers finest, best-known, but most
atypical work is the industrial figure painting Ironworkers Noontime (Fine Arts Museums of San Francisco). With the financial support of his patron, Rabbi Leonard Levy, whose portrait he had painted, Gorson was able to further his artistic education in Paris in 1900 at the A cademies Julian and Colorossi, and after his return to Philadelphia in 1901, he followed his
patron to Pittsburgh in 1903, where he resided until the early 1920s. Though he had earlier practiced primarily as a portrait
painter, it was in Pittsburgh that Gorson found his metier, with both daytime and nighttime industrial scenes of the coal and
steel plants built along the Monongahela River in Pittsburgh. Gorson was able visually to elevate the industrial landscape to
a level of beauty, sometimes concentrating upon the complexity of the buildings and smokestacks of the mills, and at other
times, as here in Industrial Landscape, contrasting the power of industrial production with the beauty of nature-the flat river
bank, with trees, at the left, and the flow of the wide waters-so that the soaring white smoke of the mills, both gray and white,
contrasts with broad horizontal cloud formations. Gorson himself wrote that: "Smoke itself I think is a most graceful thing
for its forms and quality of texture, its delicacy of color and vitality of movement."
Gorson's industrial landscapes remained prized works of art throughout his lifetime in Pittsburgh and continue to be sought
after today, now on a national basis. In recent years, there has been renewed appreciation of this distinct aspect of American
visual culture, and Gorson's art, therefore, has become especially prized.
- William H. Gerdts
141
263
Edwin Lord Weeks (1849-1903)
Ajmere
Oil on Canvas
Framed size: 19” by 26”
Estimate: $20,000 - 25,000
264
John Frederick Herring Jr. (1815-1907)
The Plough Team
Oil on Canvas
Framed 24 1/2 x 29 1/4 inches
Signed and dated “J F Herring 1851”
Estimate: $20,000 - 25,000
142
265
Thomas Hill (1829-1908)
Westward View from Union Point, Yosemite Valley
Signed “T.Hill” (lower left).
Oil on board laid on board.
14" x 21" (21" x 28" framed).
Estimate: $60,000 - 70,000
143
266
Thomas Hill (1829-1908)
Riders in Yosemite
Oil on canvas
24 1/4” x 20 1/4”
Signed and dated l.r.: T. Hill 1903
Provenance: Private Collection, Ferneley, Nevada
Estimate: $60,000 - 80,000
Thomas Hill and William K eith are considered today the two finest landscape painters active for many years in California in the nineteenth century.
From the 1860s on, the principal scenic attraction of California, for artists
and visitors alike, was Yosemite Valley, the subject of ev ery professional
landscape painter who traveled to or lived in California, but it was Thomas
Hill who gained th e reputation as "Th e Painter of Yosemite", ultimately
creating over 5,000 paintings of this New World "Garden of Eden."
Hill was born in B irmingham, England, but came with his family to the
United States in 1844, settling in Taunton, Massachusetts. His art studies
began in 1853 in Ph iladelphia at th e Pennsylvania Academy of th e Fine
Arts. But in 1861, seeking a milder climate, Hill moved to San Francisco; in
1865 he first visited Yosemite with the landscape painter, Virgil Williams
and the photographer, Carleton E. W atkins. In 1 866 Hill e xhibited a
Yosemite scene at the National Academy of Design in New York, and in the
late spring of that year he went to Paris, where through the study of the work
of the French Barbizon Masters he adopted a more painterly mode which
he successfully combined with sharp naturalist observation.
On returning to the United States, Hill lived from the late spring of 1867 to early 1872 in Boston, during which time he produced one of
his two great ten foot Yosemite masterworks, Great Canyon of the Sierras-Yosemite (Crocker Art Gallery, Sacramento). On his return to San
Francisco in 1872, he became active in the San Francisco Art Association, formed only the year before, and highlighting his career during
the art boom of the 1870s in California, he produced in 1876 his second ten footer, Yosemite Valley (From Below Sentinel Dome, as Seen
from Artist's Point) (The Oakland Museum), wh ich had been commissioned by Governor Leland Stanford. The painting was exhibited at
the Centennial Exposition in Philadelphia that year, where it was one of only twelve out of four hundred American works of art to be given
an award by the int ernational jury of th e Centennial. Hill also paint ed scenes of th e Sierra Nevada Mountains, the Grand Canyon,
Yellowstone, and Alask a; the most celebrated work of h is career is a h uge, multi-figure painting, Driv ing of Th e Last Spike, (1875-79,
California State Railroad Museum, Sacr amento), documenting th e completion of th e Union Pacific Railroad, the first transcontinental
railroad in the country.
Once back in California, Hill made a number of summer sk etching trips to Yosemite, and in 1882 applied to the Park commissioners to
build a studio there, which was completed the following year. In 1884, however, this first Yosemite studio was demolished by a storm, and
Hill settled instead near the Wawona Hotel, the former Clark's Station which had been set up by Galen Clark and opened in Ma y, 1870;
Clark had, for forty years, been known as "the guardian of the Valley." Clark's was a stagecoach station built to serve as a s top for visitors
between the Yosemite Valley and the Mariposa Grove of giant trees-referred to as "the crowning glory of the Yosemite country." The Washburn
brothers, Edward, John, and Henry, purchased the property in 1874 and renamed it Big Tree Station. In 1882, they changed it to what was
deemed a mor e appropriate name "W awona," which Galen Clar k suggested to them meant "B ig Tree" in th e language of th e Native
Americans.
The majority of Hill's paintings of th e Valley of Yosemite are horizontal, panoramic images though he also created a significant number of
vertical paintings similar in com position to Riders in Yosemite; occasionally he turned to the right and there exist a large group of vertical
canvases concentrating only on Bridal Veil Falls.
- William H. Gerdts
144
267
James Everett Stuart, California Artist (1852-1941)
Approaching Storm: The Devils Punch Bowl, Yellowstone National Park
Signed verso “J.E. Stuart July 18, 1885”
Oil on canvas
18 x 30 inches canvas size
Estimate: $6,000 - 8,000
No Reserve
James Everett Stuart was a painter especially associated with California, though in fact, he painted throughout much of the West, and is
celebrated especially as an ar tist of both Alaska and Oregon. He was also one of the most prolific artists in the history of American art;
he is credited with painting more than 5000 pictures. This must certainly be due, in pat to his exceptionally long life, and to his ability to
paint quickly though not necessarily formulaically, but also to the combination of speed and character of his work. In addition, some of
his pictures appear little more than almost unfinished sketches while others constitute complete scenes that have caught the artist's attention. Though the California State Library in Sacramento has a tremendous amount of material on Stuart, including correspondence and
diaries, the artist's life and art has yet to become the subject of serious study or of a major exhibition
James Everett Stuart was born near Bangor, Maine; some authorities suggest Dover, Maine, where Stuart later painted extensively. On his
first trip to Yellowstone in 1885, Stuart camped for several weeks, filling his sketchbooks for studio paintings. There he found not only
appealing subject matter but also avid fellow enthusiasts who wanted pictorial reminders of their own experiences.. The following year,
Stuart secured a pass from the Northern Pacific Railroad to explore the Park in return for paintings. During the following years Stuart
would return to Yellowstone to sell his pictures to tourists at the "Art Gallery" set up at the Mammoth Hot Springs Hotel. Pictures of the
geysers by Stewart are known from 1885 through at leas t 1893, and Stewart ceased his summer visits to Yellowstone only in 1899.
Approaching Storm, Teakettle Spring, Yellowstone National Park, is an especially significant work. First, of course, it was painted on the
artist's initial visit to the Yellowstone, thus recording his immediate reaction to the magnificent if strange, weird, and wonderful scenery.
Secondly he has enhanced the spectacle, not only through his manipulation of rich color contrasts of pink and green, but in positioning
the geysers against a powerful storm, so that the sky offers a background of explosive golden miasma and nearly pure dark, dramatic
weather effects. The work was formerly known as Approaching Storm, Devil's Punch Bowl. That name, however, was used generally for
many of the numerous hot springs in Yellowstone, but the specific locale is Teakettle Spring. The green spring in the foreground could be
anyone of a number of nearby hot springs, most likely the present Green Dragon Geyser, which gets its name from the boiling green water
it shoots up into the sky. These features are in the upper Geyser Basin which also houses Old Faithful nearby. Even Thomas Moran, the
master of Yellowstone imagery, never captured in the Park such an extraordinary combination of the four elements--earth, water, fire, and
smoky air, as has Stewart in this transcendent image.
- William H. Gerdts
145
268
John Nost Sartorius
Breaking Cover, 1819
Oil on panel
21" by 25" framed
Estimate: $15,000 - 20,000
146
269
Attributed to Thomas Staunton St Clair (1785 - 1847)
Natives on the Island of St. Vincent, West Indies
Signed or inscribed l.l.: St Clair… and inscribed verso:
St Vincent 1835
Oil on panel
16 x 12 ½ inches
Estimate: $8,000 - 10,000
No Reserve
270
James Archer (1823 - 1904)
Mountain Range, 1890
Oil on Canvas
20 1/2 x 12 1/2
Estimate: $1,000 - 2,000
No Reserve
147
271
George Henry Durrie (1820-1863)
View of East Rock, New Haven
Oil on canvas
Canvas size: 20 1/4” x 25 1/4”; Handsomely framed
Estimate: $30,000 - 50,000
George Henry Durrie achieved considerable success during
his all-too-short life in his native Connecticut. Subsequently,
he was pretty much forgotten until a descendant wrote an
article about him in 1933, which in turn ma y have been
induced by a renewed interest beginning in the 1 930s in
the popular lithogr aphs produced from the 1850s on by
the firm of Currier and Ives. After that there was a spate of
further research, as well as articles and art exhibitions in
the following decades, culminating in the def initive study
of Durrie by Martha Young Hutson in 1977. Perhaps due
to the comprehensive nature of Hutson's publication, and.
Durrie's fixed place in the firmament of mid-nine teenth
century American art, there has been little further study of
Durrie's work, but he is now represented in nearly all the
major public institutions which feature American painting,
as well as many important private collections.
painter. Durrie subsequently traveled through both Connecticut
and New Jersey as an itinerant but accomplished portraitist;
while maintaining residence in Connecticut, he found a very
receptive audience for his work in Freehold, New Jersey, where he
was active from 1840-44. The following year he was painting at
various towns in N ew York, Connecticut, and in Petersburg,
Virginia, where again he appears to have developed a following,
for he returned through each year through 1847. By 1845, however, Durrie had begun to paint winter landscapes which he
exhibited in New Haven, and by the summer of 1847, he had
both abandoned itinerancy for a stable life in New Haven, and
turned away from portraiture to specialize in landscape and genre
painting. In 1853, Durrie built a home in his native city, and the
next year established a studio there. He remained in New Haven
until his death, ten years later, except for a foray in New York City
where he opened a studio or business outlet for a year in 1857.
Durrie was born in New Haven, Connecticut; in 1839, he
and his brother, John, began a tw o-year period of s tudy
with Nathaniel Jocelyn, New Haven’s leading portrait
- William H. Gerdts
148
James Everett Stuart, California Artist
(1852-1941)
Grand Geyser : Upper Guyser Bacin, Yellowstone National Park
Signed verso “J.E. Stuart”
Oil on canvas
Estimate: $7,000 - 9,000
No Reserve
272
273
Rosa Bonheur (French, 1822-1899)
Sheep grazing in a meadow
Oil on canvas
Canvas size: 14 1/2”” x 21”; Handsomely framed
Signed l.r.: Rosa Bonheur; Stamped with Vente seal on the stretcher
Estimate: $10,000 - 12,000
149
274
275
George Inness Jr. (1854-1926)
Angler in a Pastoral Landscape
Canvas size: 12" x 18"; Handsomely framed
Signed, l.r. "Inness Jr."
Estimate: $10,000 - 12,000
Thomas William Jones (1798-1860),
Grouse Shooting
Oil on canvas
Estimate: $10,000 - 12,000
150
276
277
Frank Vining Smith (1879-1967)
Grouse Over Marshland
Oil on board
Signed l.l.: Frank Vining Smith
Image size: 18 x 26 inches; Handsomely framed
Estimate: $10,000 - 12,000
Charles Wimar (1828-1861)
Maiden Rock on the Mississippi from the North, c. 1850
Oil on canvas
Canvas size: 15” x 30”
Estimate: $20,000 - 25,000
151
278
Henry Arthur Elkins
The Distant Rockies, 1867
Oil on canvas; Canvas size: 20” x 30”
Estimate: $6,000 - 8,000
No Reserve
Elkins was born in the small town of Vershire, Vermont, but at the age of nine, his family settled in Chicago. Artistically self-motivated,
he appears to have had no training, though some sources even suggest, surely incorrectly, that he was a pupil of Bierstadt, to whose art,
however, he remained indebted. (Several writers imply a few lessons with Bierstadt, while one newspaper columnist in the Georgetown
[Colorado] Courier, a week before the artist's demise in that town in 1884, even reported that Elkins was present in 1865 when Bierstadt
first began his sketches for his great painting, Storm in the Rocky Mountains (1866;
The Brooklyn Museum).
The present work, which must have been one of his first completed pictures created after his initial travels to the West, very much establishes Elkins's distinctive artistic voice, independent of the expected sources. As in a good number of later canvases, The Rocky Mountains
are seen only in the distance, and the focus is upon the open, uninhabited landscape, a true wilderness scene with the concentration
upon the foreground of a placid lake surrounded by tall conifer trees, some of which reach high up toward the top of the canvas. Like the
Rocky Mountain panoramas that he and his colleagues painted, this painting is also one of wilderness and discovery, but a landscape
which offers entry into the vast panorama of the Rockies and the West. The foreground lake is a fairly common motif in Elkins's Western
scenes, but the emphasis here upon the undiscovered western landscape, with the Rockies far in the distance, is unusual even for Elkins,
and a daring departure from the format of most Western landscapes of its period The Distant Rockies may be an "assigned" title; Elkins
often preferred titles more generic and/or poetic rather than identifiable, such as Morning in the Valley, The Crown of the Continent,
and The Thirty-Eighth Star. And in fact, it was noted regularly in newspaper reports that, while Elkins based his paintings on sketches
he made of specific scenery, his final compositions tended to be amalgams which glorified the wonders of the West, and tended to avoid
specificity-the press even referred to them as "composition pictures." This, actually, became increasingly true also of the work of his idol,
Alfred Bierstadt, who also chose such a formula for his Rocky Mountain and California scenes. Very much in keeping with Elkins aesthetics is the contr ast between the darker earth tones on the expansive foreground, and the soft blues and pinks in the dis tant mountains
and their enshrouding atmosphere. Elkins paintings were shown to acclaim in Denver, and reviews of subsequent exhibitions of his pictures in Chicago were often reported in Denver newspapers so that his art remained appreciated throughout his short lifetime.
- William H. Gerdts
152
279
280
Leslie Carr
Untitled Train
Oil on Canvas
27 1/2 x 24 inches; Handsomely framed
Estimate: $1,000 - 2,000
No Reserve
Arthur William Best (American 1859 - 1935)
Grand Canyon
Oil on Board
Signed L.R.: A.W. Best
10 x 20 inches; Handsomely framed
Estimate: $3,000 - 4,000
No Reserve
153
281
Frederick Ferdinand Schafer (1839-1927)
In the California Sierras, c. 1880
Oil on canvas
Canvas size: 18” x 28”; Handsomely framed
Signed l.l.: F. Schafer
Estimate: $15,000 - 20,000
Soon after the Gold Rush of 1849, San Francisco developed into
one of the most sophisticated and cultur ed cities in the United
States. The arts, particularly thrived among painters in the Bay
area, and while there were very able portraitists, and other painters
who specialized in still life, genre, and even history painting, it was
the magnificent scenery of Northern California, Oregon, and
Washington that attracted the most talented of ar tists. Certain
great volcanic peaks w ere the subjects of numerous paintingsMount Shasta in California, Mount Hood in Washington, and
Mount Tacoma (late Ranier) in Washington)--plus nearer to home,
across the Bay, Mount Tamalpais. Furthermore, Yosemite, with
the great natural formations in the Valley and the nearby Redwood
forests, began to attract tourists by the mid-1850s, and artists
began to explore the region in countless canvases by 1863.
That year, the gr eat Eastern painter, Albert Bierstadt visited
California and fr om that experience began t o create a gr eat
demand for Yosemite subjects among Eas tern collectors too,
already familiar with photographs of the area. Not surprisingly, a
formidable school of landscape painters developed in Northern
California, artists who were supported not only by local art orga-
nizations but also by extremely wealthy California patrons who
were developing the r ailroads that linked east and west. The
major figures, then and now, whose work was and is particularly sought after are William Keith and Thomas Hill, but in
their wake, were a hos t of other exceptionally talented landscape painters. These artists sometimes painted more intimate
forest interiors and costal scenes, but devoted their attention
primarily either to the individually famous mountain peaks or
to the br oad range ofthe mountain territory in N orthern
California.
Frederick Ferdinand Schafer was one of the finest of the many
artists to exploit that mount ainous scenery. He was born in
Bruanschweig, Germany, and was a fully dev eloped painter
before he emigrated to the United States in 1876. This was, in
fact, a very propitious time for his arrival, for the 1870s was the
great decade of Northern California art patronage, and during
his next four decades, Schafer is believe to have painted about
500 paintings.
- William H. Gerdts
154
282
William James Bennett
City of Richmond, Virginia from the Hill Above the Waterworks
Published by Lewis P. Clover, 1834; After a painting by G. Cooke
Handcolored aquatint
Sheet size: 28 1/2 x 21 1/2 inches; Handsomely framed
Estimate: $20,000 - 30,000
Guidance: Northeast Auctions February 23-25, 2007. Lot 445. $60,320
Illustrated: Richmond Virginia in Old Prints 1737-1887 text by Alexander Wilbourne Weddell, Associate Editor
John Lee McElroy, Foreward by Douglas S. Freeman, published under the auspices of the Richmond Academy of
Arts, Johnson Publishing Company, 1932, p. 79-81
155
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Books, Natural History Engravings, Watercolors, and Color
Plate Books Auction on December 5, 2012. The letter should
be addressed to Barbara Mintz, Vice Pr esident of Guernsey's,
and indicate the limit to which the checks can be writt en.
You Can Bid at this Auction without Pre-Establishing Credit
Without pre-establishing credit, unless you pay with cash or
bank check or certified check, your purchases will be held until
your personal check clears (usually about 10 business days). In
such cases you may be responsible for shipping and handling
costs. (Please see Removal/Shipment of Purchases.)
Absentee Bidding
Although all are welcome to attend the auction in person, it is
clear that some may wish to participate as Absentee Bidders. To
facilitate absentee bidding, one may bid b y completing the
Absentee Bid Form and submitting it b y mail or fax to
Guernsey's prior to the auction. One can also bid by telephone
during the actual auction b y contacting Guernsey's well in
advance of the auction dates to arrange for this method of bid
ding.
Shipping, handling and insurance for all absentee bid items are
the responsibility of the wining bidder. Bidding increments are
at the discretion of the auctioneer. In the case of tie bids the
first bid received will be given priority.
Absentee bidder invoices will be sent pr omptly by mail and
must be paid in full within 10 days of receipt. In voices to
Internet bidders (see instructions for Internet Bidding below)
will be sent promptly by email and must be paid in full within
10 days of receipt.
Absentee Bid Form Instructions
1. Fill out the Absentee Bid Form included in the cat alogue
packet or download a copy from our website.
2. Indicate if you wish to Bid By Phone or Bid By Mail. If you
wish to Bid By Phone, be sure to provide the phone number
where you can be r eached during the auction. Phone bids will
be executed by Guernsey's telephoning the bidder on the indicated lots as they are sold at the live auction. Please return the
form early to reserve a phone, as a limit ed number of lines ar e
available
per lo t
on a f
irst
come
basis.
Terms &
CondiTions
3. All Top Bid Amounts must be indicated in U.S. dollars. If
you wish to Bid By Mail, you must indicate a Top Bid Amount.
If you wish to Bid By Phone we encourage you to indicate a Top
Bid Amount. Although we will make every reasonable effort to
telephone you at the appropriate time during the auction, our
experience indicates that there is always the possibility that for
a variety of technical (and human) reasons we may not be able
to reach you at that time. In the event that were to occur, to
avoid disappointment, WE S TRONGLY SUGGEST THAT
YOU INDICATE YOUR TOP BID IN TH E SPACE
PROVIDED AFTER CHECKING THEBOX AUTHORIZING
GUERNSEY'S TO EXECUTE YOUR BIDS UP T O THE
LEVEL INDICATED.
If you are a successful Internet or Absentee Bidder….
4. Please print clearly and list all lots in numerical order. Use
multiple forms, if needed.
4. Purchases paid for by personal or business check will be
held until the check has cleared (please allow 10 business days
from receipt of payment).
5. Sign and date the form.
Internet Bidding
Those who are unable to attend the auction who would like to
participate can view the full catalogue online, and leave advance
absentee bids, as w ell as place bids in r eal time as the sale is
taking place at www.Liveauctioneers.com. For further information, please visit Guernsey's website or Liveauctioneers.com.
Links from the Guernsey's website will be available approximately one month before the event. All lots in this catalogue
and in the addendum to this catalogue can be bid on thr ough
Liveauctioneers.com prior to - and during - the liv e auction,
provided that the bidder has already completed Liveauctioneers.
com's registration process and been appr
oved
for bidding.
Removal / Shipment of Purchases
PURCHASERS ARE RESPONSIBLE FOR ALL PACKING
AND SHIPPING COSTS.
Purchasers who have
pre-established credit with Guernsey's, or who pay for their
purchases with cash or cashier's or bank check will be able to
remove their purchases immediately following the auction.
Purchases by those pr esent at the auction paying by personal
check will be held until the funds have cleared, after which shipping or pic k-up arrangements can be made. In some cases,
there may be sa vings of sales t ax by the use of a r ecognized,
licensed transport company. Should you wish to learn mor e
about your shipping options, please contact Guernsey's prior to
the auction.
Purchases by successful absent ee, phone or int ernet bidders,
will be held until payment in full in cleared funds is received,
after which shipping or pick-up arrangements can be made.
158
1. You will receive an invoice following the auction (Internet
bidders by email, Absentee bidders by snail mail). If you
believe you are a successful bidder and don't receive an
invoice, please contact Guernsey's (212-794-2280; sjaffe@
guernseys.com)
2. Payment is due promptly and within 10 days of receipt of
invoice.
3. Purchases paid for by wire transfer, bank or cashier's
check will be available for release immediately.
5. When purchases are available for release you will be contacted by Guernsey's to discuss shipping options.
Purchasers are responsible for all shipping costs. In some
cases, there may be savings of sales t ax by the use of a recognized, licensed transport company. Should you wish to learn
more about your shipping options, please cont act Guernsey's
prior to the auction.
Payment Terms
Payment is due promptly and within 10 days of receipt of
invoice.
Unable to attend the auction in NYC on December 5th? Feel
free to contact Guernsey's to arrange for absentee telephone
bidding. You can also bid in "r eal time" on the Internet at
liveauctioneers.com or send in the Absentee Bid Form at the
back of this catalogue. Thank you.
159
Philanthropic Note
In conjunction with Guernsey's auctioneers, on December 5th, 2012 Arader Galleries is pleased to
present a s tunning selection of maps, rare books, natur al history engravings and watercolors,
Audubon's Birds and Quadrupeds and New York centric views for sale at its flagship gallery at 1016
Madison Avenue (between 78th and 79th streets). The sale features exceptional works in each category. Similar to past Arader Galleries auction events, if you are the successful bidder for any lot
offered in the auction, at your direction Graham Arader will donate 10% of the hammer price of
such lot you acquired to any institution, museum, school, hospital, foundation, botanical garden,
zoo, research library or un iversity you designate that is an IRS approved charity. The donation
would be made by Mr. Arader following my receipt of the sale proceeds upon settlement of the sale
for such lot. OR you can request that Mr. Arader direct 25% to one of the following institutions he
supports: the University of Florida, Northeastern University, Prescott College, and University of
South Carolina. 10% would go for unrestricted use and 15% would go for purchases of art from
Mr. Arader’s collections. Mr. Arader asks that you inform me of your designation within 35 days of
the auction.
To inquire:
Mr. W. Graham Arader III
29 East 72nd Street, 2nd floor
New York, NY 10021
Phone: +1 212 - 628-3668
Email: [email protected]
To Contact Arader Galleries at 1016 Madison Avenue please call +1 212 - 628-7625
or contact the Director, Daniel Brunt, at [email protected]
GUERNSEY’S
108 East 73rd Street, New York, NY 10021
212.794.2280 [email protected] www.guernseys.com
160

Auction Catalogue 2012

Transcription

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