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A Monograph of the Phasianidae, or Family: ELLIOT, Daniel Giraud

ELLIOT, Daniel Giraud (1835-1915).

Published by New York: Published by the Author, [1870]-1872. (1872)

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About this Item: New York: Published by the Author, [1870]-1872., 1872. 2 volumes. Folio (23 2/8 x 18 4/8 inches). Subscribers list. 79 fine hand-colored lithographic plates, including one folding, after Joseph Wolf by J. Smit and J. G. Keulemans, printed by M. and N. Hanhart and P. W. M. Trap, colored by J. D. White, and 2 uncolored plates of generic characters by and after Smit. Modern half blue morocco gilt extra, six original pictorial front wrappers bound in at the end of volume one. First edition, issued in 6 parts between June 1870 and October 1872. Containing spectacular images of Peacocks and Pheasants, it was not just the "extreme attractiveness of the birds composing the family" (Elliot "Preface"), but "of all the families composing the Ornithological System, no one is so important to the human race. containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world" (Elliot "Introduction"). Ayer/Zimmer, p.206; Copenhagen/Anker 130; Fine Bird Books, p.74; McGill/Wood, p.331; Nissen IVB 295. Catalogued by Kate Hunter. Seller Inventory # 002073

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Mouradgea d'Ohsson, Ignace].

Published by [Paris], Charles-Nicolas & Joseph Varin, 1791. (1791)

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About this Item: [Paris], Charles-Nicolas & Joseph Varin, 1791., 1791. Large folded engraving, from a single copper plate, 887 x 458 mm. Captioned in Arabic only, image unobscured by numbers, no key. Framed (106:63 cm). Considered unobtainable: the large-scale engraving of the earliest view of Mecca, the press run of which was thought to have perished in a fire. The engraving was commissioned by the orientalist and diplomat Mouradgea d'Ohsson. Of Armenian extraction but born in Pera, on the European side of Istanbul, Mouradgea was fluent in Arabic and Turkish. He rose in the Swedish foreign service at the Ottoman Porte and was made minister plenipotentiary in 1782 before moving to Paris in 1784, where he was to publish his grand account of the Ottoman Empire. In the second volume of this magnum opus, "Tableau général de l'empire othoman" (1787-90; a posthumous third volume would follow in 1820), Mouradgea had included a double-page view of Mecca, drawn after his instructions by L. N. de Lespinasse and engraved by Berthault: a fine bird's-eye view of the Haram of Mekka and its environs during the Hajj. A year later, in 1791, he had a significantly larger version of the same view engraved by the brothers Charles-Nicolas and Joseph Varin, just before returning to the Swedish embassy in Turkey after the Revolution had made his position in Paris untenable. Although in Constantinople he is reported to have sold prints of the same to Muslim pilgrims and Christian travellers (cf. Hunglinger [1804], p. VI), today no copies of the Varin view can be traced in libraries, museums, or private collections: as the British Museum states in the description of a copy made 12 years later (supposedly after the "Tableau" view), "the entire press run" of this "earliest view of Mecca", produced by "Ignace Mouradja d'Ohsson in 1791", was "[ravaged by] the great Pera fire [.] in that same year" (item 1871,0513.28). The last person to report having owned a specimen was the Austrian orientalist Andreas Hunglinger, who in 1804 wrote that he had in vain sought to obtain one during his 1798 sojourn in Constantinople, but in 1802 had finally received a print from a Pera art dealer who suggested that Hunglinger have it copied. The copy, engraved in Vienna by Carl Ponheimer, appeared in 1803. In a separate brochure issued to accompany the print, Hunglinger claimed to have redrawn the view completely: "I lent the picture more proportion, more perfection and posture in light and shadows, added numbers to the principal monuments and provided their local names beneath the picture, all of which gives my copy notable advantages over the original" (p. VII-VIII). In fact, comparison shows that excepting the numbering and the key at the bottom (of which the smaller 1790 engraving also could boast), Hunglinger's changes were very minor indeed - no changes in the proportions or shading are evident, and even the size apparently remained very much the same: the British Museum exemplar of the Hunglinger print, acquired from George Ellis in 1871, measures 883 x 497 mm, while that sold by Sotheby's on 9 May 2012 (lot 155 - the only copy ever known to have been auctioned, commanding no less than £87,650!) measured 850 x 487 mm. - In promoting his own production, Hunglinger admitted that a similar view was still available in the second volume of Mouradgea's "Tableau", "but that is from a different perspective, smaller and treated with much more liberty, and not engraved by C. N. Varin (in spite of the fact that the author had availed himself of his services for several other fine things in the said work); also, it is a year older than the present one. In addition, I have seen many other [similar] engravings and even drawings in the possession of Turks and Armenians. The former assure me that these drawings are made by professional Turkish artists who sell them to pilgrims. These as well as all engravings I studied closely were entirely similar to this present plan, but none was so extensive in its scope, so large, so possibly perfect as this prese. Seller Inventory # 44862

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Livre des differentes espèces d'Oiseaux de la: HUQUIER, Gabriel (1695-1772),
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About this Item: Paris, 1745. Four parts in one, folio. (24 1/3 x 18 5/8 inches). 60 hand-coloured engraved plates by Huquier after Jean Baptiste Oudry and others (numbered 1-60), on laid paper watermarked 1742, each inlaid into a larger sheet of laid paper within the album at a contemporary date. Caption titles as above in the lower corner on the first plate of each part. Extra-illustrated with a contemporary original watercolour, also on laid paper, of plate 29. Expertly bound to style in period russia, covers elaborately bordered in gilt with a central gilt device comprised of small tools, spine with raised bands in eight compartments, red and black morocco lettering pieces in the second and third, the others with a repeat decoration in gilt, marbled endpapers and edges An extraordinary collection of large lavishly engraved plates with original 18th century hand-colouring of Chinese birds, flowers, vases and objects: the dénoument of French Rococo Chinoiserie. Huquier was among the most prominent French engravers, printsellers and tastemakers of the mid-18th century, designing or reproducing a prolific amount of ornamentation. The present collection of four suites containing sixty hand-coloured engravings of birds, flowers, botanical arrangements and objects presents the best Chinoiserie of the period. The first part is entirely dedicated to Asian birds; of the other three parts, approximately 25 plates depict intricate and colorful floral arrangements, many in elaborate chinoiserie inspired vases; six depict Asian flora with birds in natural settings; and the remaining illustrate Chinese objects including vessels, snuff boxes and other objects d'art. Besides being a talented designer and engraver, Huquier assembled an impressive collection of art, dispersed in three auctions in 1761, 1771 and 1772, including what is believed to be the largest collection of original watercolours by Oudry. An album of watercolours of birds by Oudry (and presumably from Huquier's collection) is now located at Harvard's Fogg Museum, and confirms that the images of birds in the plates present here were engraved by Huquier after Oudry. Besides having a relationship with Oudry, Huquier was known to have engraved Chinoiserie designs after Fraisse, Watteau, Boucher and others, suggesting other artists of the present engravings. However, given Huquier's own artistic talents, it is quite possible that many of the engravings are after his own work. The extra-illustration of a contemporary watercolour of plate 29, though unattributed, may be by Huquier. The strictly contemporary hand colouring of the plates in this album is simply superb. The extreme high quality of the colouring, coupled with the contemporary inlaid presentation of the plates and the original watercolour, suggests that the album was assembled for a collector of note in the mid-18th century. A similar album, also containing sixty plates, sold in the 1772 auction of Huquier's estate (as lot no. 157, selling for 380 livres). In addition, a similar album of the same four parts comprised of 60 hand coloured plates, extra illustrated with 12 original watercolours in the rear, is located at the Institut National d'Histoire de l'Art, Paris. We find no examples of this work selling at auction since the 18th century, Nissen IVB 465; Lewine, p. 248; Cohen, p. 274; Bruand and Hebert, Inventaire du Fonds Français, Graveurs du XVIIIe Siècle , #1953-2012. cf. Mary Morton, editor. Oudry's Painted Menagerie (2007); cf. Hal Opperman, Jean Baptiste Oudry (1977); Susan Miller, "Jean Antoine Fraisse, grave par Huquier" in Metropolian Museum Journal , vol. 31 (1996), pp. 127-130; Y. Bruand, "Un Grand Collectionneur, Marchand et Graveur du XVIIIe Siècle, Gabriel Huquier (1695-1772)," in Gazette des Beaux-Arts (1950), pp. 99-114. Seller Inventory # 29891

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Plates to Selby's Illustrations of British Ornithology: SELBY, Prideaux John

SELBY, Prideaux John (1788-1867).

Published by London: Henry G. Bohn, 1841. (1841)

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About this Item: London: Henry G. Bohn, 1841., 1841. 4 volumes, Atlas and Text: 2 Atlas volumes, broadsheets (26 2/8 x 21 inches). 2 engraved title-pages with hand-colored vignettes (creased, a bit thumbed, crease strengthened on verso), 221 MAGNIFICENT etched plates of birds by and after W.H. Lizars, Robert Mitford, William Jardine and Selby, with SUPERB original hand-colour in full, all heightened with gum arabic, WITH 3 PLATES HEIGHTENED IN GOLD, and 4 uncoloured plates at the end of volume one (a few plates with corners creased towards the end of volume II, 2 guard sheets with closed tears). Contemporary full maroon morocco gilt, the spine in seven compartments with six raised bands, gilt-lettered in two, the others decorated with fine gilt tools, all edges gilt, by White of Pall Mall (extremities scuffed, colour unevenly darkened, free endpapers repaired in facsimile along the fore-edges); 2 Text volumes, 8vo., (8 4/8 x 5 2/8 inches) (one or two spots). Bound uniformly with the atlas volumes in full maroon morocco by White of Pall Mall (unevenly darkened). Provenance: From the distinguished library of Francis Dukinfield Palmer Astley (1825-1868), from his library at Fellfoot in the lake District, inscribed as such on the recto of each first blank in the text volumes; his sale, Christie's, 27 April 1994, lot 60. Volume One: 88 plates, numbered I, I*, II-III, III*, IV-XII, XII-XIII, XIII*, XIV-XV, XV*, XVI-XVII, XVII*, XVIII, XVIII*, XIX-XXVI, XXVI*, XXVII, XXVII*, XXVIII-(XXX HEIGHTENED IN GOLD)-XXXI, XXXIIII, XXXIII-XXXIV, XXXIV*, XXXV-XXXVI, XXXVI*, XXXVII-XLII, XLII* (guard sheet torn), XLIII, XLIII*, XLIV-XLV, XLV*, XLV**, XLVI-LIII, LIII*, LIII*, LIV-LVI, LVI*, LVII-LVIII, LVIII*, LIX-LXIV, LXIV*, LXV*, A-D, I-IV uncoloured. Volume II: 132 plates, numbered I-III, V-VI, VI*, VII, VII*, VII**, VIII, X-XI, XI*, XII (HEIGHTENED IN GOLD)-XVII, XIX-XXVII, XXVII*, XXVIII, XXVIII, XXVIII-XXX, XXX-XXXII, 33, XXXIII*, XXXIII**, XXXIV-XXXIX, XXXIX-XLIII, XLV, XLV-XLVII, XVLII*, XLVIII, XLVIII*, XLVIII* (HEIGHTENED IN GOLD), XLVIX, XLVIX*, L, L-LV, LV, LVII, LVII-LVIII, LVIII*, LVIII**, LIX-LXIII, LXV-LXVI, LXVI*, LXVI**, LXVII-LXX, LXX*, LXXI-LXXIV, LXXIV-LXXVIII, LXXVIII-LXXXIII, LXXXIII-LXXXIV, LXXXVI-LXXXVII, LXXXVII*, LXXXVIII-XCII, XCII*, LCIII-XCIV, XCIV*, XCV-XCVI, XCVI*, XCVII, XCIX-CI, CI (guard sheet torn), CI*, CII, CII, CII*, CIII 'ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK (Mullens and Swann) A fine copy of the Bohn reissue of Selby's magnum opus, first published in parts at irregular intervals in Edinburgh in 1834. Prideaux John Selby "was very gifted as an artist, and the two volumes of "Illustrations of British Ornithology" are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, "Illustrations of British Ornithology", was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, "Land Birds" in 1825 (revised in 1833. Seller Inventory # 72nhr210

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Plates to Selby's Illustrations of British Ornithology.: SELBY, Prideaux John

SELBY, Prideaux John (1788-1867).

Published by Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]. (1823)

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About this Item: Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]., 1823. SELBY, Prideaux John (1788-1867). Plates to Selby's Illustrations of British Ornithology. Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]. 2 volumes. Folio. Atlas volumes only: Land Birds (23 4/8 x 20 1/8 inches). Engraved title-page, 4 uncloloured etched plates, 89 EXCEPTIONALLY FINE etched plates with MAGNIFICENT ORIGINAL HAND-COLOUR, HEIGHTENED WITH GOLD AND GUM ARABIC by Selby, Robert Mitford and W. H. Lizars after Selby, Mitford and Sir William Jardine, on paper watermarked Ruse & Turners 1815, 1818, J. Whatman 1820, 1821, 1831 and 1832, and J. Whatman Turkey Mill 1821, 1822, 1823 and 1824; Water Birds (25 4/8 x 20 4/8 inches). Engraved title-page (creased), 129, including 4 with folding extensions, EXCEPTIONALLY FINE etched plates with MAGNIFICENT ORIGINAL HAND-COLOUR HEIGHTENED WITH GOLD AND GUM ARABIC by Selby, Robert Mitford and W. H. Lizars after Selby, Mitford and Sir William Jardine, on paper watermarked J. Whatman 1823, 1825 - 1831 (plate XCI with triangular tear within the plate-mark but not affecting the text). Uniformly bound in contemporary calf, gilt, each cover with a central panel of marbled paper (rebacked preserving the original spines, scuffed, shelfmarks at each foot). Provenance: from the Spokane Public Library, with their perforated library on the title-page of volume one only, their ink library stamp on the first plate and rear endpaper of each volume and on plate LV in volume II, with their bookplate on the front paste-down of each volume; with Christie's East, October 12th, 2000, lot 154 'ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK (Mullens and Swann) AN EXTREMELY FINE AND EARLY ISSUE OF THE FIRST EDITION OF THE ATLAS VOLUMES TO SELBY'S BRITISH ORNITHOLOGY, officially published in 1834, but issued from 1819 to 1840. Prideaux John Selby "was very gifted as an artist, and the two volumes of "Illustrations of British Ornithology" are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, "Illustrations of British Ornithology", was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, "Land Birds" in 1825 (revised in 1833) and "Water Birds" in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800–1874) with the descriptions, drawings, and etchings for their joint publication,'Illustrations of Ornithology' (1836–43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an. Seller Inventory # 72nhr255

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Bones of the Book: An Oblong Identity: Ely, Timothy C.

Ely, Timothy C.

Published by Colfax, WA (2015)

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From: Abby Schoolman Books, ABAA (New York, NY, U.S.A.)

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About this Item: Colfax, WA, 2015. Timothy C. Ely (illustrator). Unique. Bones of the Book is the second in a three-book series that differs significantly from Ely's other art. These books are both biographical and autobiographical. Each honors the important influence of family members in Ely's life, and combines it with an aspect of bookbinding-the format Ely has chosen to house his artwork throughout his career. In each case, there is also a third narrative that plays a significant role in Ely's identity as an individual and as an artist.The series began with Binding the Book:The Flight Into Egypt in 1985. Egypt is about Ely's grandfather, the journal he left behind about his mysterious trip to Egypt between the wars, bookbinding, and the geography of Egypt. For much more information about Binding the Book: The Flight Into Egypt, see The Flight into Egypt: Binding the Book (Chronicle Books, 1995).In Bones of the Book, the visual narrative combines Ely's origins (Snohomish, WA, his parents, and their hardware store), and the close relationship between book structure and human anatomy. The third book has yet to be made. Ely plans for it to be about his Uncle Jack and his work as a combat photographer in the Pacific during WWII. In addition to the three-fold, co-mingled story line in Bones, as in all of Ely's art, there are layers of references drawn from alchemy, mathematics, mythology, geography, and geology.Artist's statementIn the early part of the last decade of the 20th century, I wished to contemplate my origins, especially the early and all-consuming attraction to the form of the book and how that might have evolved for me. Beyond deep reading, I have found that the best way to become informed about an event or gather a bit of enlightenment is to make an expressive book. Bones of the Book began as a thought structure aimed at the skeletal system of the body and of the book, as they seem to me to contain functions that echo each other. I also wanted to fuse the influences of my parents and their choice of livelihood into the book by referencing the location of their hardware store and its impact on what I have chosen to do as an artist. My parents, Everett [b. 1914] and Frances [b. 1918], met at a paper mill where they both worked, then married at the outset of America's involvement in World War II. In about 1948, they opened a hardware store in Snohomish, Washington (a map in the book drawn from memory is an attempt to locate the store in space), which set the tone for my entire life until they retired in 1978.The hardware store. I long to travel back through time and view it again, for until I began this contemplation, I was not really aware of how much that family business, the community it served, and the tools and materials it contained affected me. I was introduced to the hardware business around the age of 11, not knowing how connected to the arts of the book this would be. It was to be my first real training in the process of building things, and, coupled with the local library where I practically lived when I wasn't at the store, really became the focus of my interests. When I first began to work this out, I came to believe that there was an inextricable link between what influenced me, and how I came to know the craft of making a book. There seemed to be in place an existing gnosis which acted as both a guide and a set of techniques-a skeletal anatomy was at hand.I began drawing bones in graduate school after a trip to a forbidden beach at the mouth of the Hoh River yielded up a hoard of bird, fish, and crab remains. Though the Hoh Reservation was off limits, some cigarettes gave us entry. That same summer a second pile of bones from draft horses in central Washington gave me a new scale. Then, my Uncle Jack, living in Alaska, would provide the third leg of the bone 'tripod' of visual clues by sending me boxes of bones from a lonely beach near Hoonah, Alaska.These bones would provide both visual inspiration and material for inks. (Bone black ink is especially bluish and potent!)Bone. Seller Inventory # 139

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Voyage de la corvette l'Astrolabe execute par: DUMONT D'URVILLE, Jules

DUMONT D'URVILLE, Jules Sébastien César, le Comte (1790-1842).

Published by Paris: J. Tastu, 1830-1833. (1833)

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About this Item: Paris: J. Tastu, 1830-1833., 1833. COMPRISING: Voyage de la Corvette l'Astrolabe Histoire du Voyage. Paris: J. Tastu, 1830-1833. 8 volumes: comprising 5 text volumes, 8vo., (215 x 133 mm), five half-titles and volume title-pages, 9 plates, 6 folding maps, occasional wood-engraved vignettes; and 3 Atlas volumes, large folio portfolios (530 x 360 mm) 8-page letterpress "Table explicative," otherwise lithographed or engraved throughout. 3 engraved vignette title-pages, lithographed portrait of Dumont d'Urville, 8 maps (one hand-colored, 7 double-page), 240 views (all called for), ethnographical portraits and plates (62 colored) after Louis-Auguste de Sainson, Édouard Paris and Bartélemy Lauvergne. The majority of the plates are after de Sainson (the expedition's official artist or "Dessinateur") and show ethnological artifacts and portraits, scenes from the daily life of indigenous peoples and views of ports and anchorages, including Sydney, Hobart, Cape Town and Saint Helena. Text volumes bound in contemporary blue paper boards, gilt; and Atlas in 20th-century blue half morocco folding cases to style, 6 original printed wrappers loosely inserted (worn, some marginal repairs). Jean Réné Constant QUOY & Joseph Paul GAIMARD. . Zoologie. Paris: 1830-1835-1833. 5 volumes in 8: comprising 6 text volumes, 8vo., (250 x 162 mm) six half-titles and title-pagess, 8 lithographic plates; 2 Atlas volumes, large folio portfolios (530 x 360 mm), 8pp. letterpress text, otherwise lithographed or engraved throughout. 2 engraved title-pages with vignettes, 192 numbered plates after de Sainson, Jean-Gabriel Prêtre, Nicolas Huet, Alphonse Prévost, Quoy, Antoine-Germain Bévalet and others. They include 28 plates of mammals, 31 birds, 12 fish (all called for, and including 6 coloured), 26 zoophytes (all coloured) and 95 of molluscs (including two extra, and all coloured) (some marginal dampstaining to plates). Text volumes bound in original printed boards, backed with 20th-century blue morocco, uncut and partly unopened; and Atlas volumes in uniform 20th century blue half morocco folding cases, 2 original board portfolios laid-in (worn). Provenance: Presentation inscription from Gaimard on the front free endpaper of volume one. Pierre Adolphe LESSON & Achille RICHARD. . Botanique. Paris: 1832-34. 2 volumes in 3: comprising 2 text volumes, 8vo., (246 x 166 mm) two half-titles and title-pages; and Atlas volume, folio portfolio (550 x 360 mm), one-page letterpress "table des planches," otherwise engraved throughout, engraved vignette title-page, 80 plates after Vauthier or Mme.E.Delile, by Dunaime, Mme. C. Noiret, Mme. Dondey and others. The Atlas volume also contains the 12 plates to accompany the "Entomologie" (see below). Text volumes bound in original printed boards backed with blue morocco, uncut and partly unopened; Atlas in 20th-century blue half morocco folding cases, original board portfolio laid in (worn). Jean Baptiste Aplhonse Déchouffour de BOISDUVAL. . Entomologie. Paris: 1832-1835. One volume in two, 8vo., (240 x 155 mm). 2 half-titles and title-pages. 12 engraved plates after Vauthier by Mougeot and others. The large-folio plates (550 x 360 mm) are laid in the Atlas portfolio for the "Botanique" section (see above). Original printed boards, backed with 20th-century blue morocco. J.S.C. DUMONT D'URVILLE. . Observations Nautiques, Météorologiques, Hydrographiques, et de Physique. Paris: Firmin Didot Frères for the Ministère de la Marine, 1833-34. 2 parts only (Physique and part II of Hydrographique, lacks remainder of text and Atlas volume). 8vo., (314 x 247 mm). Half-title and title-page. Original wrappers, 20th-century blue quarter morocco folding case. Provenance: Frank Sherwin Streeter (1918-2006) (Collection of Important Navigation, Pacific Voyages, Cartography and Science). EXTREMELY RARE AND DESIRABLE SET OF THE FIRST EDITION OF D'URVILLE'S VOYAGE IN THE ASTROLABE This important voyage was one in a great series undertaken by the French government in the late eighteenth. Seller Inventory # 23-2-2

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Plates to Selby's Illustrations of British Ornithology: SELBY, Prideaux John

SELBY, Prideaux John (1788-1867).

Published by London: Henry G. Bohn, 1841. (1841)

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About this Item: London: Henry G. Bohn, 1841., 1841. 2 volumes, broadsheets (25 6/8 x 20 4/8 inches). 2 engraved title-pages with hand-colored vignettes (creased and a bit thumbed, fore-edge to that in volume one strengthened on verso, 220 MAGNIFICENT etched plates of birds by and after W.H. Lizars, Robert Mitford, William Jardine and Selby, with original hand-colour in full, all heightened with gum arabic, plate XXX, the Magpie, HEIGHTENED IN GOLD, and 4 uncoloured plates at the end of volume one (some plates a bit creased, and thumbed in the margins, one or two pale stains). Contemporary half green morocco, marbled paper boards, the spines in 8 compartments with 7 raised bands, 2 with citron morocco lettering-pieces, the others decorated with small gilt tools (rebacked preserving the original spines, extremities quite scuffed, endpapers renewed, hinges strengthened). Provenance: From the distinguished library of Quentin Keynes (1921-2003). Natural History, Plate Books and Cartography, 6th of June, 2007, lot 37 Volume One: 92 plates, numbered I*, I-III, III*, IV-XII, XII-XIII, XIII*, XIV-XV, XV-XVII, XVII*, XVIII, XVIII*, XIX-XXVI, XXVI*, XXVII, XXVII*, XXVIII-XXXIV, XXXIV*, XXXV-XXXVI, XXXVI-XLII, XLII*, XLIII, XLIII-XLV, XLV*, XLV**, XLVI-LIII, LIII*, LIII*, LIV-LVI, LVI*, LVII-LVIII, LVIII*, LIX-LXV, LXV*, A-D, I-IV uncoloured (these last creased and thumbed). Volume II: 132 plates, numbered I-III, V-VI, VI*, VII, VII*, VII**, VIII-XI, XI*, XII-XVII, XIX-XXVII, XXVII*, XXVIII, XXVIII-XXX, XXX*, XXXI-XXXII, 33, XXXIII*, XXXIV-XXXIX, XXXIX*, XL-XLIII, XLV, XLV*, XLVI-XLVII, XVLII*, XLVIII, XLVIII*, XLVIII**, XLVIX, XLVIX*, L, L-LXIII, LXV-LXVI, LXVI*, LXVI**, LXVII-LXX, LXX*, LXXI-LXXIV, LXXIV-LXXVII, LXXVII*, LXXVIII, LXXVIII-LXXXIII, LXXXIII-LXXXIV, LXXXVI-LXXXVII, LXXXVII*, LXXXVIII-XCII, XCII-XCIV, XCIV*, XCV-XCVI, XCVI*, XCVII-CI, CI*, CI-CII, CII*, CII**, CIII 'ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK (Mullens and Swann) A fine copy of the Bohn reissue of Selby's magnum opus, first published in parts at irregular intervals in Edinburgh in 1834. Prideaux John Selby "was very gifted as an artist, and the two volumes of "Illustrations of British Ornithology" are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, "Illustrations of British Ornithology", was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, "Land Birds" in 1825 (revised in 1833) and "Water Birds" in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800–1874) with the descriptions, drawings, and etchings for their joint publication,'Illustrations of Ornithology' (1836–43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's. Seller Inventory # 72nhr209

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Plates to Selby's Illustrations of British Ornithology.: SELBY, Prideaux John

SELBY, Prideaux John (1788-1867).

Published by Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]. (1823)

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About this Item: Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]., 1823. Atlas volume for Land Birds only, folio (24 4/8 x 19 4/8 inches). 70 EXCEPTIONALLY FINE etched plates with MAGNIFICENT ORIGINAL HAND-COLOUR by Selby, Robert Mitford and W. H. Lizars after Selby, Mitford and Sir William Jardine, on paper watermarked Ruse & Turners 1818, J. Whatman 1820 and 1821, and J. Whatman Turkey Mill 1822 and 1823 (some occasional insignificant spotting). Contemporary half brown calf, brown marbled cloth, gilt (extremities a bit scuffed). Provenance: The Foljambe Collection of Books, removed from Osberton Hall, Christie's 30th April, 2008, lot 50 Volume One, only, the Land Birds: 70 plates, numbered I, I*, III-XIII, XIII*, XIV, XV, XV*, XVI, XVII, XVII*, XVIII, XVIII*, XIX-XXIV, XIV*, XXV-XXVII, XVII*, XXVIII-XXXIV, XXXIV*, XXXV, XXXVI, XXXVI, XXXVII-XLII, XLII*, XLIII*, XLIV, LIV, XLV, XLV**, XLV*, XLVI-LIII, LVI, LVI*, LVII, LVIII, LVIII*, LIX, LXI, LXIII, LXV. 'ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK (Mullens and Swann) AN EXTREMELY FINE AND EARLY COLLECTION OF PLATES FROM THE FIRST EDITION OF THE ATLAS VOLUME, CONTAINING IMAGES OF LAND BIRDS,TO SELBY'S BRITISH ORNITHOLOGY, officially published in 1834, but issued from 1819 to 1840. Prideaux John Selby "was very gifted as an artist, and the two volumes of "Illustrations of British Ornithology" are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, "Illustrations of British Ornithology", was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, "Land Birds" in 1825 (revised in 1833) and "Water Birds" in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800–1874) with the descriptions, drawings, and etchings for their joint publication,'Illustrations of Ornithology' (1836–43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an editor until his death, contributing notes and articles up to 1841. He joined the Berwickshire Naturalists' Club soon after it was founded in 1831 and served as its president in 1834 and again in 1844. Between 1832 and 1859 he contributed many papers to the 'History of the Berwickshire Naturalists' Club'. Further papers were published in other journals between 1823 and 1838" (Christine E. Jackson for DNB). BM(NH) IV, p. 1896; cf. Fine Bird Books (1990) p.141; Mullens & Swann p. 519; Nissen IVB 853; cf. Wood pp. 561-562; cf. Zimmer pp. 571-572, cf. C. Jackson, Bird Etchings, 1985. [WITH]: "Contents of Number Thir. Seller Inventory # 72nhr211

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Museum d'Histoire Naturelle: Annales volumes 1-21 (AND): Museum d'Histoire Naturelle

About this Item: Paris, Muséum d'Histoire Naturelle, 1802-1897. 84 volumes in100 parts. Large 4to (slightly differing dimensions per series, the largest being the last series, at 32.0 x 25.0 cm). 2,048 copper engravings and lithographed plates of which many double-sized or larger, and/or hand-coloured or in chromolithography, and seven portraits. Contemporary uniform marbled boards with morocco labels on the spines in different colours for the different series; original printed wrappers of several issues bound in (Annales, Mémoires, Nouvelle Annales), and near contemporary uniform cloth bindings with red morocco labels (Archives and Nouvelles Archives, first series), and original printed wrappers (last two series of the Nouvelles Archives). l Very rare set, seldom seen complete, of the most important scientific natural history journal published in France during the 19th century. There are in total 84 volumes in 4to with more than 2,000 engraved and lithographed plates, of which over 250 are hand-coloured or in chromolithography. This work contains the contributions of all the famous French naturalists of the 19th century, in many cases the first publication(s) of these authors, or at least in their first editions, and often their most important research and results. In the Annales, for instance, Cuvier published his important series on molluscan anatomy, while his rival Lamarck contributed with his monograph of the fossil shells of the Paris Basin. Ornithology is well-represented. For instance: De Blainville "Le Dodo, autrement Dronte (Didus ineptus L.)" with four lithographed plates one being a beautiful hand-coloured head of the dodo by G. de Bièrre. Another important "first" is Geoffroy St-Hilaire's "Descriptions des mammifères nouveaux ou imparfaitement connus: famille des singes" with eight lithographed plates of which two are coloured, one of which is the chimpanzee (Pan troglodytes L.) and appears to be the first monograph, antedating that of Owen by seven years. A herpetological treasure is De Blainville's "Description de quelques espèces de reptiles de la Californie". Throughout each series there is also a great deal on entomology, and more on conchology/malacology, including palaeontology, ichthyology and studies on crustaceans. Authors included are Cuvier, Valenciennes, Audouin, Lamarck, Becquerel, H. and A. Milne-Edwards, Brongniart, Jussieu, Tulasne, De Serres, Duméril, Thouin, Deleuze, Fourcroy, Vauquelin, a.o. Among the entomological titles, for example, are the following works by Lyonet: "Anatomie de différentes especes d'insectes" (a long series, with plates by W. de Haan), Lacordaire's "Essai sur les coléoptères de la Guyane Française"; an illustrated paper by Boisduval on Macrolepidoptera from Madagascar, Mauritius and Réunion, inaptly titled "Considérations générales"; Audouin and Brullé's "Description des espèces nouvelles ou peu connues de la famille des cicindelètes", with nice large hand-coloured plates, Raffray's "Coléoptères de la famille des paussides"; Paul Gervais' paper titled "remarques sur la famille des scorpions et description de plusiers espèces nouvelles de la collection du Muséum", and more. Père David, the first westerner to see a deer named after him as well as the giant panda, published his travel diaries in the Nouvelles Archives, with many zoological observations, and this came with a string of papers by Vaillant, Sauvage, Heude, and others on the specimens of birds, fish, molluscs and other animals he collected. Over the years many papers included in this series have been sold separately for considerable prices. In all, it can be stated that these publications by the natural history museum of Paris do not only contain a great deal of zoological, palaeontological, geological and (bio)chemical observations and discoveries, but also provided a platform for many new ideas and concepts about how the natural world is organized and how it is developing. Some rubbing to boards, and especially to spine ends. T. Seller Inventory # 32511

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KIDD, Joseph Bartholomew (1808-1889); after John James AUDUBON (1785-1851)

Published by Edinburgh (1831)

Art / Print / Poster
Softcover

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About this Item: Edinburgh, 1831. Oil on millboard, R. Davy label on verso. Approximately 18 1/2 x 11 1/4 inches. Framed. An important original oil painting from the Audubon/Kidd collaboration. In 1827, while in Edinburgh supervising the engraving of the first part of the double-elephant folio Birds of America , John James Audubon met a young landscape artist named Joseph Bartholomew Kidd, whom the engraver Lizars had employed to more artistically finish the sky in the background behind one of Audubon's birds. Audubon would write in his journal on 1 March 1827 of Kidd: "I admired him for his talents at so early a period of his life, he being only nineteen. What would I have been now if equally gifted by nature at that age?" In the winter of 1831, Audubon would commission Kidd to copy some of his watercolours in oil and paint in the backgrounds, with the intention of holding an exhibition of the oils, selling the paintings and dividing the proceeds. In July 1831, Audubon sent to Kidd 67 drawings "to be painting in oil by him for one pound each." A notice in an 1832 issue of the Caldedonian Mercury details the plan: "About a year ago Audubon conceived the grand idea of a Natural History Gallery of Paintings, and entered into an agreement with Mr. Kidd to copy all his drawings of the same size, and in oil, leaving to the taste of that excellent artist to add such backgrounds as might give them a more pictorial effect. In the execution of such of these as Mr. Kidd has finished, he has not only preserved all the vivacious character of the originals, but he has greatly heightened their beauty, by the general tone and appropriate feeling which he has preserved and carried throughout his pictures." Although Audubon had intended to have Kidd reproduce all his drawings in oil for the exhibition, the project was never completed. Kidd was among those at the sale of Lord Elgin's pictures in March 1833 when the floor gave way. Kidd's injuries seem to have prevented him from his work and engendered a financial dispute with Audubon. By December of that year, Audubon advised his son Victor to "take all the pictures from him by goodwill or otherwise and give him no more originals to copy." Kidd delivered to Audubon 94 paintings in all; approximately 60 are extant, including those in the collections at Harvard, the American Museum of Natural History, Princeton, the National Gallery, Yale, the Metropolitan Museum of Art and others. This Audubon image depicts a male (bottom) and female (top) Cliff Swallow (Petrochelidon pyrrhonota) among a cluster of nests, one with a young bird peeking its head out, affixed to a rocky outcrop. The image would appear in the Havell edition in 1829 as plate 68, based on a watercolour by Audubon accomplished in Cincinnati in 1820. See Audubon's Ornithological Biography I:pp. 353-357 for his description of the bird and their curious nests and his encounter with them near New Port, Kentucky. As usual with the Audubon/Kidd oils, the work is unsigned and undated. This painting remained in the possession of the Audubon family until 1863, when Lucy Audubon (the daughter of J.W. Audubon and Maria Bachman) gave it to her grandson Mark F. Zinck, whose signature is on the verso of the board. Fries, The Double Elephant Folio: The Story of Audubon's Birds of America (Chicago: 1973), pp. 360-367. Seller Inventory # 29519

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About this Item: 1904. of her visit to Egypt and the Sudan with her children VICTORIA EUGENIA ('Ena', 1887-1969, Queen of Alfonso XIII, 1909) and LEOPOLD (1889-1922, Captain in WWI in spite of haemophilia), her niece BEATRICE (of Saxe Coburg, 'Bee', 1884-1966, Duchess of Galliera), her Comptroller Lord William CECIL (1854-1943, son of the Marquess of Exeter) and Lady William CECIL (1857-1919, Baroness Amherst in her own right, 1909), Amy PARRATT (d. 1917, daughter of Windsor organist Sir Walter) and Mr Stenhouse, joined in Egypt by her son ALEXANDER ('Drino', 1886-1960, Marquess of Carisbrooke, 1917). The Journal, (sides 42-64, in her clear hand), is rich in observations of people, natural history, architecture, archaeology, recent events and the incidents of travel, informed by the eye of a talented artist. Her Photographs (about 150, sides 1-41) tell in particular the story of the expedition across the desert from Luxor to the Red Sea at Kosêr and back, followed by snapshots in Cairo and of the voyage home, supplemented by 17 full-page studies of scenes she mentions in the journal, by J.P. Sebah and P. Dittrich of Cairo. Attractive cloth binding of repeated rose sprays, label of Theodor Zech of Coburg, 64 sides 13¼" x 10¾", from Osborne Cottage via London, Marseille, Port Said, Cairo, Luxor and Aswân to Khartoum, returning to Marseille and Château Fabron in Nice (belonging to Bee's mother Marie, Dowager Duchess of Saxe-Coburg & Edinburgh), 11th December 1903 - 23rd April spine somewhat worn in places but covers in good condition, short edge tears in the leaves from time to time without loss Princess Ena said of this trip that her grandmother, Queen Victoria, would never have let her go, and the same may be said of Princess Beatrice herself. The Sudan had only recently been pacified, but the results were showing in many ways, such as the schools and hospitals Beatrice visited. Her brother Arthur had opened the great Nile Dam at Aswân in 1899 (see under 25th January). Hers was not an official or state visit, though the Khedive (Abbas II Hilmi) lent his railway saloon and took her to the opera, and crowds turned out in many places to welcome her with wild horsemanship or local music. The most 'official' occasions are a review in Khartoum (6th February), and the visit to Omdurman that followed: "Landed some little way beyond, mounting donkeys and camels. We were quite a cavalcade, with 2 splendidly dressed camel men . holding the one an Egyptian, the other an English flag, preceding us, a mounted guard bringing up the rear with the Royal standard". The Princess has an amazing appetite for sightseeing. As she journeys along the Nile there are stops for excursions, on donkey or camel, to all the most famous sites, Moslem as well as ancient Egyptian, and many less famous but no less interesting to her. Her guides include Howard CARTER (of Tutankhamun fame, the first Inspector of Antiquities in Upper Egypt) and Georges LEGRAIN (excavator at Karnak), but she seems to have a special rapport with Percy E. NEWBERRY (1869-1949), botanist turned archaeologist, famous for the accuracy of his copying, who was working freelance at this time. (As a youth, Newberry frequently conversed with Sophia Poole, who had lived many years in Egypt). "Mr Newberry explained everything, also Sobkhi Effendi, Inspector of Antiquities in the province . Drino, Leo, Bee & Ena, were let down by ropes" (Minieh, 7th January). "Dr. Newberry helped me with an Egyptian design for my photograph album" (Assiout, 10th January). See her watercolour decorations on sides 5, 8, and especially 10, with its three drawings, divine, human and a bird in flight. "Mr Newberry left . to our great regret, he can write and draw hieroglyphics with the greatest ease" (11th January). Newberry joins her expedition across the desert to the Red Sea (29th February - 14th March), and dines "with us" on the party's last evening in Egypt (Cairo, 17th April). More than once Beatrice joins in the excavations. "Went ov. Seller Inventory # 55149

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Morse, Edward George.

Published by Mostly at sea, on board the barque "Sarah" of London, April 1831-14 March 1833 (with additions to 1835). (1835)

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About this Item: Mostly at sea, on board the barque "Sarah" of London, April 1831-14 March 1833 (with additions to 1835)., 1835. 4to (195 x 165 mm). (191) ff., including paste-downs and about 55 blanks. The journal with an engraved view as frontispiece, 15 full-page, 1 nearly full-page and 1 smaller manuscript maps and coastal profiles, plus a small engraved view mounted on 1 page. The lecture notes with a matching pair of engravings of a scull on and facing the title-page, and 27 pencil and/or ink anatomical drawings (including 2 full-page), some also with red. - Including: [Anatomical manuscript]. Morse, Edward George. Lecture Book [notes on anatomical lectures by Joseph Constantine Carpue]. [London], November-December 1828. Contemp, sheepskin parchment. A manuscript ship's journal kept by Edward George Morse (Bromyard 1805?-Deal post 1850?), who no doubt served, among other functions, as the ship's surgeon. Morse reflects on Arabian navigation and Arabian explorers, including the deservedly famous Ibn Battuta. "The Arabians like the Chinese are said to have employed the compass to guide them through the trackless sands of the desert or to enable them at the hours of prayer to direct their faces with precision towards the city of Mecca and tomb of the prophet. In the sixteenth century moreover when the Portuguese first visited the Indian seas they found that the Arabians are the chief navigators of those seas [.]". - Morse made his earliest dated entries in April 1831 at the island Mauritius in the Indian Ocean and others at Madagascar and its surrounding islands from May to August 1831. Those around Madagascar indicate he was on the barque Manchester, but from at least 11 December 1831 to his arrival back in England on 14 March 1833 he was on the barque Sarah, a 600 ton ship sailing out of London. In it he spent a year in the Seychelles 11 December 1831-15 December 1832, including Make Island, Bird Island, Praslin Island and La Digue. - In very good condition. The binding is soiled and rubbed, and the boards slightly warped, but it remains structurally sound. A fascinating and unusual ship's journal with numerous maps, kept in the unused leaves of the author's illustrated anatomical lecture notes of a few years earlier. Seller Inventory # 32457

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Digte.: ANDERSEN, H.C. -

ANDERSEN, H.C. - [PRESENTATION-COPY OF ANDERSEN'S FIRST FAIRY-TALE]

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About this Item: Kjöbenhavn (i.e. Copenhagen), 1830. Uncut in the original printed wrappers. Wrappers a bit fryed at edges and spine expertly renewed with paper perfectly matching that of the wrappers. Corners of wrappers gently re-enforced. With a full-page inscription to inside of front wrapper. Some brownspotting due to the paper-quality. Housed in chemise in an elegant half morocco-box, in pastiche-style, with gilt spine spine. THE RARE FIRST EDITION - PRESENTATION-COPY, IN THE EXCEEDINGLY SCARCE ORIGINAL PRINTED WRAPPERS - OF ANDERSEN'S THIRD BOOK, CONTAINING HIS FIRST FAIRY TALE.The magnificent presentation-inscription - hitherto unknown and unregistered - is arguably one of the most important Andersen-presentations. It is inscribed to Henriette Collin, née Thyberg (1813-1894), the then fiancée, later wife, of his closest and most important friend, who was more like a brother to him, Edvard Collin. The touching and heartfelt presentation-inscription, on the verso of the front wrapper, is in the form of a poem and expresses Andersen's views about himself, about life, love, and perishing, and predicting the fact that he would never find love:"Min kjære Eduards/ elskværdige Jette/ fra/ Forfatteren/ -/ En Digter ligner Fuglen der flagrer/ over Vang,/ Han bringer hvad han eier, - sit Hjertes/ bedste Sang./ O tænk med Eduard paa mig, naar Jorden/ mig har gjemt,/ Maaskee, i Eders Hjerter jeg ikke bliver/ glemt./ Drøm glad i Kjærligheden, paa Livets/ raske Elv,/ Den sang jeg tidt som Digter, men/ fandt den aldrig selv." (My dear Eduard's/ loveable Jette/ from/ the author/ -/ A Poet is like the bird fluttering/ over the meadow,/ He brings what he owns, - his heart's/ best song./ Oh, think with Eduard about me, when the earth/ has hidden me,/ Perhaps, in your hearts I will not be/ forgotten./ Dream happily in love on live's/ swift stream,/ As a poet I sang that often/ but never found it myself."). Edvard Collin was the son of Andersen's greatest benefactor Jonas Collin, who took him under his wings and helped him financially. Jonas Collin had five children, and it was Edvard, who came to be closest to Andersen. Edvard Collin is remembered today almost solely as the closest friend of Andersen, his lifelong support in all aspects of life and his councellor in all practical matters. His wife, Henriette Collin, came to play a significant role in Andersen's life and became one of the people very closest to him. She is described as a clever and loving woman, and she became Andersen's lifelong confidante, always consoling him when things looked bad and always helping him in matters of the heart. More than Edvard Collin, who had a cooler nature, she was very close to Andersen's heart throughout his life. Both Edvard and Henriette ("Jette", as Andersen called her) are buried in the same grave as Andersen. Edvard and Henriette (Thyberg) were engaged in 1832, and the presentation-inscription is presumably from around that time. Thus, it is one of the very early Andersen-presentations known. The earliest dated inscription from Hans Christian Andersen that is known is in another copy of "Digte" (now in a private collection), dated January 1st 1830. This first published collection of Andersen's poetry constitutes Andersen's third published book (at the age of 24) and contains, at the end, the first printing of any of his fairy tales, being also his very first fairy tale, "Dødningen, et fyensk Folke-eventyr" (i.e. "The Ghost" (also sometime "The Spectre"), "A Folk- Fairy Tale from Funen"). This is the first time that Andersen uses the term "Eventyr" (fairy tale), the term which came to denote the genre for which he received world-wide fame as one of the most important writers of all time. "The Ghost" was later rewritten and published for the second time in Andersen's first fairy tale collection, "Eventyr fortalte for Børn" (PMM 299), 1835, under the title "The Travelling Companion". As Andersen would later explain, his first fairy tale was based upon a folk tale. Seller Inventory # 55247

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Histoire naturelle des oiseaux-mouches ou colibris constituant: Mulsant, Martial Étienne,

Mulsant, Martial Étienne, & Edouard Verreaux

Published by au Bureau de la Société Linnéenne, Lyon (1873)

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About this Item: au Bureau de la Société Linnéenne, Lyon, 1873. First edition, 4 volumes, plus supplement; large 4to, pp. [6], v, [1], 343; [6], 327; [6],iii, [1], 303; [6], 303; all with original printed wrappers bound in, the front wrapper of each with a hand-colored pictorial onlay; plus 5 fascicles, each in a printed wrapper, the first containing 19 pages of descriptive text, and the balance with 35, 33, 23, and 29 hand-colored lithographs respectively after Antoine Germain Bevalet and Mesplis, for a total of 120; slightly later three-quarter red morocco over red marbled paper-covered boards, top edges of the text volumes gilt, spine in 5 compartments, gilt-lettered in 3; facsicles in a matching slipcase; spines a little faded, else a near fine set with beautiful coloring. Sitwell, Fine Bird Books, p. 126 (calling for 120 plates, as here); Nissen 659. Seller Inventory # 43275

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An album of original watercolour drawings of: ROTHSCHILD, Lionel Walter,

ROTHSCHILD, Lionel Walter, Baron Rothschild (1868-1937) - John Gerrard KEULEMANS (1842-1912, artist)

Published by "London (1899)

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About this Item: "London, 1899. Oblong octavo. (8 3/8 x 11 1/4 inches). Black ink calligraphic manuscript title, manuscript map in blue ink of New Guinea, northern extremities of Australia and the surrounding islands, hand-coloured with a related key beneath to show the distribution of the various species and sub-species, 7 plates of pen-and-ink and watercolour drawings of various species of cassowary (the first five plates each with three heads, the sixth plate with two heads and the final plate with a fine full-length study of an adult and a young bird). Loosely inserted is an early manuscript listing (in the same hand as the captioning of the plates and the index to the map) of various species of the birds, with common names and locations. Contemporary brown morocco-backed cloth-covered boards, dark red morocco box Provenance: Otto Fockelmann (of Hamburg, near-contemporary signature in blue ink on title) Pre-publication presentation manuscript with watercolour drawings depicting the 17 species or sub-species of Cassowaries identified by Rothschild in his "Monograph of the genus Casuarius" published in 1900. In December 1900, Walter Rothschild published his seminal work on the cassowary in the Transactions of the Zoological Society (vol.XV, pt.5, pp.109-290), which included exquisite plates by John Gerrard Keulemans. The manuscript title of the present album, however, is dated the year prior. The fine watercolours in the present album, each of which bears close comparison with the finished plates as included in Rothschild's "Monograph of the Genus Casuarius," are the work of fine bird artist John Gerrard Keulemans. Keulemans worked from the live birds housed in Lord Rothschild's private menagerie at Tring and travelled to Germany to sketch the live specimens at the Zoological Gardens of Berlin. This latter fact, allied with Otto Fockelmann's name on the title may provide the most likely explanation for the existence of this unique pre-publication manuscript. Rothschild was scouring the world for any species or sub-species that had escaped his notice. The Fockelmanns were well-known dealers in rare birds, based in Hamburg, and they would have been contacted to ask if they could help, perhaps by Keulemans at Rothschild's request during one of his trips to Germany. Before the publication of the monograph, the original watercolours were the most accurate method of recording the species that Rothschild had already identified, and the present images may, in part, have been produced to allow the Fockelmanns to eliminate them from Rothschild's "shopping list". The Fockelmanns were evidently much taken with the drawings, as it seems likely that they were responsible for its current final form: with a German title, a map with German place names, and a loosely inserted index (with Rothschild's name spelled incorrectly, and notes in German) with additional species which had been identified by Anton Reichenow added in 1913. [With:] ROTHSCHILD, Lionel Walter, Baron Rothschild (1868-1937) - John Gerrard KEULEMANS (1842-1912, artist). A Monograph of the Genus Casuarius . London: 1900. Extract from the Transactions of the Zoological Society of London , vol. XV.-Part 5, pp. 109-290. Quarto (12 x 9 1/2 inches). 24 plates (18 hand-coloured lithographed plates of birds, 2 hand-coloured lithographed maps and 3 photolithographed plates). Period blue buckram, original blue wrappers bound in. For the published work, see: Anker 547; Nissen IVB 796; Wood p.543. For Keulemans life and work, see T. Keulemans & Jan Coldewy, Feathers to Brush The Victorian Bird Artist John Gerrard Keulemans (Epse, The Netherlands & Melbourne, Australia: 1982). Seller Inventory # 21824

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The genera of Diurnal Lepidoptera: comprising their: DOUBLEDAY, E. &
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About this Item: London, Longman, Brown, Green, and Longmans, 1846-1852. 2 volumes. Folio (375 x 270mm). pp. xi, (1), 1-250; (2), 251- 534, with 86 lithographed plates of which 85 splendidly handcoloured. Contemporary green half morocco, richly gilt decorated spines in 6 compartments, marbled sides (minor skilful repair to bindings). One of the rarest and most beautiful iconographies on butterflies. The magnificently handcoloured plates were drawn and lithographed by William C. Hewitson. Hewitson was a very wealthy naturalist and formed the most complete collection of diurnal lepidoptera of the world (now in the British Museum). "Hewitson was a most accomplished artist and scrupulously accurate draughtsman, and his figures, whether of birds' eggs or butterflies, are drawn and coloured with conscientious care . In his own line, as a pictorial describer of butterflies, Hewitson stands unrivalled" (DNB. IX pp. 758-59). The work was published in 54 parts. The first 31 parts by Doubleday and due to his early death the work was continued by Westwood. The work is fully discussed by F. Hemming in the "Journal of the Soc. for Bibl. of Nat. Hist. Vol. I,11. pp. 335-464". 'The number of new species figured by Doubleday is very considerable, and is even larger than appears at first sight' (Hemming)."Westwood remarked that the butterfly collection of the British Museum was 'one of the finest ever formed', and Doubleday based his work on that collection, gaining other information. Particularly on butterfly habits, from manuscripts and drawings also in the British Museum. The famous collection of drawings by John Abbot painted in America and sent to England, plus those of General Hardwicke's collection of Indian drawings gave much of this information"(Gilbert. Butterfly Collectors and Painters p. 82). The first plate, an anatomical plate, was never coloured. A fine copy without any foxing.Horn & Schenkling 5034: "Sehr selten"; Nissen ZBI, 1150. Seller Inventory # 9251

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A Monograph of the Genus Lilium [with]: ELWES, John Henry

ELWES, John Henry (1846-1922).

Published by London: Taylor & Francis for Dulau & Co., and others, [1877]-1880, 1933-1940, 1960-1962. (1962)

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From: Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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About this Item: London: Taylor & Francis for Dulau & Co., and others, [1877]-1880, 1933-1940, 1960-1962., 1962. Together 10 volumes" One volume "Monograph." and "Supplement." parts I - IX. Folio (546 x 375mm; 552 x 375mm). 83 fine hand-coloured lithographed plates, including one double-page and 5 chromolithographic plates by W.H.Fitch, Lilian Snelling and Margaret Stones, mounted photograph by Bourne, coloured map (preliminiaries spotted). "Monograph." bound in contemporary red half morocco gilt, all edges gilt (hinges starting at head and foot of the spine, extremities scuffed); "Supplement." in original printed paper wrappers. Provenance: with Crewe Hall stamped in gilt on upper cover of the "Monograph"; with inserted letters of Thomas Hoog, Harlem in "Supplement", part VIII; with Christie's, May 24, 1995, lot 13. First edition, complete with all parts of the "Supplement", limited issue, one of 250 copies of the "Monograph" and parts I-VII of the "Supplement", part VIII of "Supplement", limited to 40 copies, and 500 copies of part IX. The work was issued in 3 stages: the "Monograph" between 1877 and 1880 with 48 plates by Fitch; the first seven parts of the "Supplement" by A.Grove and A.D.Cotton between 1933 and 1940 with 30 plates by Lilian Snelling; and finally, parts VIII and IX by W.B.Turrill between 1960 and 1962 with plates by Margaret Stones. The two final parts were available with the plates hand-coloured (40 copies) or chromolithographed (960 or 500 copies). Elwes, a traveller, collector, and particularly as a plantsman. "He knew what to collect, was determined in his travels to find it, was highly observant in describing the geographical distribution of what he found, and was particularly skilled in propagating specimens he brought back" (Balfour and Baigent). "He devoted his life to natural history and travel. His original interest was in ornithology and it was in the Proceedings of the Zoological Society (1873) that his paper on 'The geographical distribution of Asiatic birds' was published. This was the result of a visit in 1871 to Sikkim and, illegally, to Tibet, and was important in establishing that the Himalayan region was part of the same biogeographical region as China. Elwes attributed his election in 1897 to the Royal Society to this paper. In 1880 he produced his folio "Monograph of the Genus Lilium", which remains an authoritative work on that subject; although the work was issued under Elwes's name, the strictly botanical parts of the work were done by J. G. Baker" (F. R. S. Balfour, rev. Elizabeth Baigent for DNB). His work includes nearly all of the lilies then known in cultivation. Nissen BBI 594; Great Flower Books p.56; Stafleu & Cowan 1664. Catalogued by Kate Hunter. Seller Inventory # 33-4-2

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Animalium quadrupedum omnis generis verae et artificiosissimae: Collaert, A.
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About this Item: Antwerpen, [ca. 1612]. Oblong 8vo (18.8 x 12.4 cm). 19 beautiful contemporarily hand-coloured engravings including the engraved title page depicting Orpheus charming and taming the birds and beasts of the forest. All are mounted on contemporary paper and nicely framed in five sections in a tortoise-shell setting.l An exceptional suite in a contemporary coloured state. Of the 19 plates, only 2 have the normally present numbering and engraved signature: "Adrian. Collaert fecit et excud". The other 16 are most probably some sort of proof prints before letters and numbers, which is very unusual and completely unknown in any bibliography; the leading expert, Sam Segal, whom we consulted, also knew nothing of it. He also confirmed the contemporary colouring, all done in the same brilliant hand. Nissen quotes an engraved title and 19 engravings; therefore we are lacking one plate only, which makes this an almost complete set of the already very rare suite of the animalium. The plates depict men (mostly in hunting scenes), apes, cows, bulls, horses, lions, dogs, camels, goats, deer, pigs, elephants, wolves, rhinoceroses, a chameleon, etc. - one of the nicest sets of engravings on animals from this great Flemish artist. A few plates with an old, small, repaired tear and one with a tiny damaged spot in the image, some of the mounts with old paper repairs, but overall in very good condition, with great vibrant colouring, some heightened with gold. Nissen ZBI, 924; Wood 293. Bridson & White, Animal and Anatomical Illustration in Art & Science, D61 only quotes numbered and signed suites of prints. Seller Inventory # 51609

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Flora Brasiliae Meridionalis.: SAINT-HILAIRE, A.F. DE.

SAINT-HILAIRE, A.F. DE.

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About this Item: Paris, A. Belin, 1824-1833. 24 parts. Large 4to (365 x 280mm). With 193 engraved plates. Publishers printed wrappers, uncut. A fine complete copy of this scarce flora of Brasil. 'Two issues were made, 4to with black and white plates priced 15 francs each part, and folio with coloured plates at 60 francs each part. Both are now rare' (Barba de Moraes p. 762). August François César Prouvençal de Saint-Hilaire (1779-1835) was a French explorer, botanist and entomologist; self-taught naturalist of independent means. "He intensively surveyed the flora and fauna of Brazil from Jequitinhonha to Rio de la Plata for six years. In August 1822 Saint- Hilaire returned to Paris with 24,000 plants, 2,000 birds, 16,000 insects, 135 quadrupeds, and many reptiles, fishes, and minerals that he intended to classify" (DSB). Saint-Hilaire left his Brazilian herbarium to the Paris Natural History Museum, and it is now part of the general herbarium. For the parts 5-22 Jacques Cambessèdes (1799-1863), and Andrien Henri Laurent de Jussieu (1797-1853) were co-authors. The fine plates are from drawings by Eulalia Delile and P.J.F.Turpin. The plates are numbered 1-192, with 2 bis plates 63, 67, plate 160 was never issued (see Stafleu & Cowan).Provenance: Name of Dupetit-Thouars on frontcover of first part. Du Petit-Thouars was a famous French botanist and explorer (1758-1831).Barba de Moraes p.762; Stafleu & Cowan 10034; Nissen BBI, 1715. Seller Inventory # 5956

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Wrapper-title:] Collection complète des oiseaux d'Europe, dessinés: SWAGERS, Edouard.

About this Item: Bradley Martin sale, item 1899; Fine Bird Books 110 (misinterpreting Nissen and stating that 400 plates were issued); Nissen, IVB 910 (32 plates only); Nissen, SVB 488 (idem); Quérard, La france littéraire, vol. 9, p. 299; Ronsil 2851 (32 plates only); WorldCat (2 copies); not in Ayer; Wood. Extremely rare and unfinished series of fine ornithological plates, lithographed by A. Leprince after Edouard Swagers and published in fascicles. As stated on the wrappers, the work was intended to reach no fewer than 50 fascicles, each with 8 plates, of which only a limited number was actually issued. The bibliographer Quérard believed that only the first 4 parts were published, with a total of 32 plates and 12 letterpress leaves, as did both Nissen and Ronsil. As is evident from the Bradley Martin copy, however, at least 12 fascicles with a total of 96 plates were issued. Though the Martin copy lacked the wrappers, it was probably the most complete copy extant, and, in fact, the only copy to have come on the market in the last decades (auctioned in 1989 and again in 1990).Our copy includes the wrappers of one fascicle, containing the title and an extensive description of the project, and 11 fascicles, each with a letterpress double-leaf and a total of 87 plates (lacking the "Chouette effraie"). The birds are arranged by diet, showing birds of prey (42), omnivores (17) and insectivores (28). They were drawn from specimens in the collection of Delahaye, curator of the library of Amiens.Little is known about Swagers. On the back wrapper he styles himself "professeur de dessin, à Amiens" and mentions that he will shortly also publish a series of plates of exotic birds, drawn from specimens in the Cabinet d'histoire naturelle, Paris. Apparently this project was never realised.Some spotting, wrappers tattered, otherwise in very good condition. Seller Inventory # CC2B6DY0632M

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A 20th century collector's privately compiled scrapbook: Hunting and horses].

Hunting and horses].

Published by Various places, 15th to 19th century.

Art / Print / Poster
Softcover

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About this Item: Various places, 15th to 19th century. 21 drawings and watercolours and 59 engravings and etchings, all mounted in an album with 65 leaves numbered in pencil. A folio volume (251 x 337 mm) bound in 18th century red morocco, finely gilt (a reimboitage) with modern label "Ridinger Hunde" on spine. Marbled endpapers. Stored within a custom-made marbled slipcase. A fine scrapbook album of original artwork and early prints with a focus on horses and the art of hunting dating from the early Renaissance, privately compiled by the German entrepreneur Hans Dedi (1918-2016). The very first of the many fine drawings is a pencil, ink and wash hunting scene, dated 1759 (p. 1): the original design for the title of the monumental Baroque plan showing the "Parc d'Eisenstatt" by the Esterházys' engineer and architect Nicolaus Jacoby, signed by the artist (the engraving was subsequently prepared by Martin Tyroff). Most of Jacoby's work for the Eisenstadt palace is kept in the palace archives, making this a rare item. It is followed by an appealing, unsigned ink hunting scene, ca. 1700 (p. 5) and a pencil and wash greyhound, signed by the Dutch-Roman painter Pieter De Laer, ca. 1640 (p. 6). Also, three ink and wash scenes (horses, hunter, hare) on one sheet (p. 7): patterns for metalwork by a German master, ca. 1570, signed "Hanns Lederschmid [changed soon after to: Hanns Jakob Vogel] ist dieses ghüs [i.e. Gehäuse, frame]" (from the collection of Eugène Rodrigues, 1853-1928, his stamp: Lugt 897; sold as no. 76 in the catalogue of F. Muller, Amsterdam, 12/13 July 1921). Pages 8-9 comprise a total of eight watercolour deer and shooting scenes on 2 sheets, ca. 1800; p. 10 shows a cut out ink and wash design for a gun wheellock with a hunting scene. An ink and wash scene of a bear at bay after Jost Amman, ca. 1600, adorns p. 22; p. 31 bears a gouache on vellum (large boar in rocky landscape), attributed to Johann Christoph Dietzsch, ca. 1760; p. 32 has a a scene of hunter and dog (cut out pencil and wash on vellum, decoration for a snuff or pill box); p. 33 shows a pen and ink wash of trapping birds. On page 34 is a large Persian watercolour, ca. 1460/80, depicting the Persian ruler Bahram Gur shooting a lion and a wild ass with a single arrow (from a MS of Nezami's "Haft Peykar"); p. 47 shows an ink and wash of a stag set upon by hounds, by Joseph Georg Winter (with later attribution on verso). - The prints are consistently of a similarly high quality. They include the complete publication of Johann Elias Ridinger's set of canines, "Neues Thier Reis-Büchl. Erster Theil, allerley Art Hunde vorstellend" (Augsburg, 1728) comprising the title and 11 plates (ZBI 3409; Th. 725-736). Other engravings worthy of mention include two woodcut riding scenes from Theuerdank, 1517 (p. 2-3, including an early proof without text on verso); an engraved boar hunting scene by Augustin Hirschvogel, 1569 version (p. 4); four engraved hunting scenes after Bartholomaeus van Lochom, ca. 1640 (pp. 14-17); two woodcut hunting scenes after Jost Amman (p. 18); two engraved hunting scenes by Johann Siebmacher, ca. 1600 (p. 23); a woodcut of King Henry the Fowler with a falcon, 1621, representing the relief in Regensburg's Dollingersaal (p. 24); six engraved hunting scenes by Aubry after Matthäus Merian (pp. 25-30); a hunting scene (Hercules and the Ceryneian Hind, Bartsch 95, Holstein S 50) by Heinrich Aldegrever, 1550 (p. 33); 12 engraved hunting scenes by Claude Savary and B. Gaultier, from the collection of William A. Baillie-Grohman (1851-1921) with his stamp, Lugt 370 (pp. 35-46); a stag by Wenceslaus Hollar, 1649, after a drawing by Albrecht Dürer from 1518 (p. 61); Hollar's large hunting still life after Peter Boel, from the collection of the counts of Fries with Franz Rechberger's signature (1802) on verso (p. 62); a hunter with rifle and hounds, by Johann Jakob Biedermann, ca. 1820, with stamp of the Öffentliche Kunstsammlung im Museum zu Basel, Lugt 222a (p. 63); and a stag hunt scene by Pierre Firens, ca. Seller Inventory # 48369

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Theatrum Urbium Italicarum.: Bertelli P.

Bertelli P.

Published by Venice, P. Bertelli (1599)

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From: Sanderus Antiquariaat (Gent, Belgium)

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About this Item: Venice, P. Bertelli, 1599. Soft cover. Condition: Very Good. 1st Edition. Venice, 1599. In-4° oblong. Original vellum binding. Engraved titlepage and 58 plans of towns in Italy with accompanying text. Very rare first edition (later editions dated 1616 and 1629) with 58 town plans, all shown as bird's-eye views. Shirley (Brit.Lib.), T.Ber-2a. Seller Inventory # 21611

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Iakinf/ Bichurin, N.Y.]

Published by Typ. of the Imperial Foundling Home, St. Petersburg (1828)

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From: Bookvica (Moscow, Russian Federation)

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About this Item: Typ. of the Imperial Foundling Home, St. Petersburg, 1828. xvi, 223, [2] pp. Octavo. With a large folding engraved map and a hand colored copper engraved plate. Modern binding with original green covers with ornamental pattern bound in. Restoration of the extremities of a few leaves and title page. Otherwise a clean very good copy. First edition. Very rare. Only eight paper copies found in Worldcat. First Russian book about Tibet and first printed book by the famous Russian historian and translator from Chinese archimandrite Iakinf, «the father of Russian sinology» (his Notes on Mongolia were published later the same year). Complete, with a large folding map of a caravan route from Chengdu (Sichuan province of China) to Lhasa (the main route to Tibet), and a picturesque hand colored bird's-eye view of Lhasa, «the first detailed view of the city to appear in a Western printed book» (Sotheby's). «A very rare and valuable account of Tibet from a Chinese perspective. The first and only edition in Russian and the first printing o f this work in the West, translated by the Russian monk and Sinologist Iakinf Bichurin from the Chinese original o f 1792. With a very fine hand-colored bird's-eye view of Lhasa, the first detailed view of the city to appear in a Western printed book; the plan and key are present in only a very small number of copies. This book, edited by Lu Hua Chu, was written by the Chinese civil servant Ma Shao Yun, aided by Shung Mai-hai and was int ended as an official government handbook for the Chinese army then occupying Tibet and to give information to the authorities in China about Tibet. The book is divided into two parts: the first is a topographical description of the route from Chen-du in Szechuan province to Lhasa; the second contains information on various aspects of Tibet, including its history, frontiers, the calendar, army, law, finances, dress, food, manners and customs, buildings, medicine, divination, and details of the Chinese administration. The translator, Iakinf Bichurin, spent 14 years as leader of the Russian Orthodox Mission to China in the early nineteenth century. His scholarly studies of China and Chinese culture brought him distinction as one of the founding fathers of Chinese studies and one o f the first Russian Sinologists; he was also a corresponding member of the Russian Academy of Sciences» (Sotheby's). In 1831 the book was traslated into French by Julius von Klaproth which made Iakinf widely known in the European scientific circles (Description du Tubet, traduite partiellement du chinois en russe par le P. Hyacinthe Bitchourin, et du russe en français par M. ***; soigneusement revue et corrigée sur l'original chinois, complétée et accompagnée de notes par M. Klaproth. Paris: Imprimerie royale, 1831). Shorty after the book had been published, Russian Academy of Sciences made father Iakinf its member (1828); in 1831 he also joined the Asiatic Society of Paris. This edition was last seen at Sotheby's in 2013 (sold for 11875 GBP). Seller Inventory # 236

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Journal of a Voyage to New South: WHITE, John

WHITE, John

Published by J. Debrett, London (1790)

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From: Hordern House Rare Books (Surry Hills, NSW, Australia)

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About this Item: J. Debrett, London, 1790. Quarto, engraved title and 65 handcoloured plates; bound with the list of subscribers, early owner's inscription on first page of text; a remarkably large copy with wide margins, completely uncut; in a good modern calf binding. A superb and very large untrimmed copy of the rare coloured issue. This is the deluxe issue of the first edition of this famous First Fleet book in which the plates were coloured by hand. Especially in this form, White's Journal is one of the most beautiful of Australian colour-plate books, and one of the most attractive, as well as one of the earliest, Australian bird books. The book was an immediate success on publication, with subscribers alone accounting for seven hundred copies. It is a travel and ornithological classic by a medical voyager: John White was chief surgeon of the First Fleet, and was particularly successful in that he overcame serious medical problems in appalling conditions both on the voyage out and when the settlement was founded. He was also a keen amateur naturalist and after arriving at Port Jackson found time to accompany Phillip on two journeys of exploration. On joining the First Fleet he had begun to keep a journal in which he made notes about birds in the new colony. It was this manuscript which formed the nucleus of his journal.The natural history content makes White's particularly noteworthy amongst the First Fleet journals. Many of the plates were drawn in England by leading natural history artists of the day, such as Sarah Stone and Frederick Nodder, from original sketches done in the colony. White's interest in natural history continued until he left New South Wales in December 1794. When the convict artist Thomas Watling arrived in the colony in October 1792 he was assigned to White and in the next two years made many drawings of birds for him. It is possible that White himself had some skill as an artist and that he was responsible for the original sketches of some of the engravings here.White's journal also contains a good description of the voyage from London, with long, detailed accounts of the stops at Rio de Janeiro, Cape Town and of the colonial voyages to Norfolk Island.As Wantrup points out in a lengthy discussion in Australian Rare Books, the number of "points" that have interested collectors in the past are really rather pointless now that many copies have been properly described. However in the interest of completeness, we note that this copy: 1) has the standard form of the List of Plates; 2) has the List of Subscribers, which is not always present; 3) has the draughtsmen's names somewhat faintly printed (as we know to be normal) but certainly not deteriorated; and 4) has the earlier uncancelled state of the Wattled Merops text on p.240, no longer thought to be the great rarity that it once was. This copy does not contain 4 pp. advertisements sometimes found but by no means present in all copies. Provenance: Caroline Grevis (1774-1818), inscription on first page of text dated 30 December 1815; Alan Wambeek, modern bookplate. The uncut edges just a little dusted, otherwise absolutely fine. Seller Inventory # 4504411

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Teutsche Ornithologie oder Naturgeschichte aller Vögel Teutschlands.: SUSEMIHL, J.C.
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About this Item: Damstadt, im Verlage der Herausgeber, 1800-1811. Folio (450 x 300mm). 21 parts (of 22), bound in 2 volumes. With 126 hand-coloured engraved plates. Contemporary half calf, gilt ornamented spines with 2 gilt lettered labels (slightly rubbed). A fine large copy of one of the most splendid German bird books. As usual without the last part, which was published in 1817. This final part is almost always lacking due to the interruption of publication by the Napoleonic wars. Our copy contains all the 21 printed upper wrappers to the parts. A great rarity is the title-page which is found in a few copies and here replaced by the printed wrapper to the first part. Many bibliographies consider the work complete in the first edition with 21 parts. The 22nd part was in fact the first part published of the second edition.". a work by which it was attempted to create a German parallel to the sumptuous ornithological works of other countries, notably of France, e.g. Levaillant's works, to which it was compared at that time . and with which it is quite comparable on account of its beautiful plates. These were drawn, engraved, printed, and coloured, by Susemihl in co-operation with his brother, J.Th. Susemihl, and lateron his son, Eduard Susemihl" (Anker 52). "Nicht minder lobenswert ist auch die 'Teutsche Ornithologie', die Johann Conrad Susemihl gemeinsam mit seinem Bruder Johann Theodor und später mit seinen Kindern Eduard und Emilie in Darmstadt mit Hilfe eines Kreises begeisterter Naturfreunde schulf. die Tafeln, die in Stich wie Kolorit zu den Spitzenleistungen des späten Kupferstiches gehören. (Nissen p. 53). The work is frequently listed under Borkhausen.One plate in part 10 lacks small part of lower corner not affecting the illustration, part 11 with some marginal dampstaining at the inner margin.Schlenker 55,1; Nissen IVB, 907; Fine Bird Books 61. Seller Inventory # 8328

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Monograph of the Pittidae.: GOULD, J.

GOULD, J.

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About this Item: London, Published by the Author, 1880-1881. 2 parts in one volume. Folio (370 x 550mm). With 10 hand-coloured lithographed plates by Gould, W. Hart and H.C. Richter, EXTRA ILLUSTRATED WITH AN ADDITIONAL 27 plates (see footnote). Original wrappers for each part bound in. Modern red morocco gilt by Morrell for Sotherans, inside dentelles gilt, silk liners, gilt edges. The work was incomplete at the time of Gould's death, the first part only having been published. The text for part 2 was editied by R. Bowler Sharpe, but without plates. This copy has 9 additional plates by Gould and Hart supplied from the 'Birds of Asia' and 'Birds of New Guinea' to illustrate the 10 text leaves of part 2 (one of the birds 'Pitta sordida', had never been depicted). In addition there are a further 14 coloured and 2 plain plates of Pittidae by. E. and J. Gould, Hart and Richter from Gould's earlier publications, one with an accompanying leaf of text, and one other unidentified plain plate. In total there are 33 hand-coloured and 4 plain plates in this volume which was put together by Sotherans some time in the twentieth century.Fine Birds Book p. 78; Nissen IVB, 377; Sauer 28. Seller Inventory # 9587

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Celebrated Dogs of America: POPE, Alexander, Jr.

POPE, Alexander, Jr. (1849-1924)

Published by S.E. Cassino, [Boston (1879)

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From: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

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About this Item: S.E. Cassino, [Boston, 1879. (14 x 19 inches). 20 mounted chromolithographed plates, each accompanied by a leaf of explanatory text. Publisher's prospectus on green paper bound in. Without letterpress title as issued. Expertly bound to style in half dark brown morocco over original cloth covered boards, upper cover lettered in gilt. Housed in a dark brown morocco backed box. Provenance: Mrs. George W. Stevens (name in gilt on upper cover) Very rare American work on dogs, with chromolithographed images after Alexander Pope, Jr. Only two copies listed as having sold at auction in the past thirty-five years - the last copy in 1987. "The style of the present work is entirely original . The pictures are painted from life by Alex. Pope, Jr., whose Upland Game Birds and Water Fowl of the United States, and wood carvings of Game Birds, have made him familiar to the sportsmen art lovers of this country . The Celebrated Dogs of America will be issued monthly, in parts composed of two plates, 16 1/2 by 20, and accompanying letter-press. The series will be completed in ten parts, at $2 per part. The plates will be exact reproductions of the water-color paintings, and will be superior to anything heretofore produced of this nature . The work will be sold only by subscription." (prospectus). Bennett p.90; McGrath, p. 212; H.M. Chapin The Peter Chapin Collection of Books on Dogs (Williamsburg, Virginia: 1938) 1426. 10 parts in one [complete], oblong folio. Seller Inventory # 29276

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Narrative of a Journey to the Shores: KING, Richard (1811-1876)

KING, Richard (1811-1876)

Published by Richard Bentley, London (1836)

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About this Item: Richard Bentley, London, 1836. 2 volumes in 1, 8vo. xv, 312, [1]; viii, 321, [1]pp. 4 plates, including 2 frontispieces and a map. Modern half morocco over marbled paper covered boards Rare narrative by the surgeon and naturalist on the Back expedition. "Dr. King's narrative is full of the details of Indian life, as it was presented to the members of Captain Back's expedition. He looked at the same transactions with the natives, and the same phases of their character which Captain Back portrays, from a different point, and their coloring to his eye bears another tinge. His journal, filled with descriptions of interviews with the Chippewyans, Crees, Dog-Ribs, and Esquimaux, is therefore exceedingly interesting even after the perusal of Captain Back's narrative. Although every chapter is largely devoted to incidents associated with the natives, and anecdotes illustrative of their character, Dr. King yields the whole of Chapter xii. to an examination and relation of the present condition of the tribes inhabiting the Hudson's Bay territories. The Doctor does not attempt to conceal the chagrin he felt, at the cool absorption of his own careful researches in the narrative of Captain Back. In the splendid work of that really eminent explorer, there appears a little, and but a little of that want of generosity which the relation of Dr. King insinuates. Both give the most minute narrations of the peculiar traits of the Northern Indians, their destructive wars, their wasting from disease, and famine, and debauchery, all of which are directly traceable to their communication with the whites. Dr. King, however, finds in them traces of some of the nobler, as well as the more tender emotions, the possession of which Captain Back somewhat superciliously derides. Dr. King very justly reminds him that the gallant Captain owed his life, and that of his entire party, to the devotion and self-denial, through two long starving winters, of the Chippewyan chief Akaitcho. This remarkable Indian deserves an honorable fame. While his tribe in common with himself were starving, he shared with Captain Franklin in his two expeditions, and with Captain Back in a third, the scanty food, which his superior hunter-craft enabled him to obtain, when the duller white reason failed. Captain Franklin would never have sailed upon his fateful voyage, but for the humanity of Akaitcho, as he would have perished of starvation on his first exploration" (Field). "King, surgeon and naturalist of the Back expedition that descended the Back River to the arctic coast of Canada, includes much material similar to that contained in Sir George Back's Narrative of the Arctic Land Expedition, 1836, with additional detail on birds, mammals, and fishes, especially as observed near Fort Reliance" (Arctic Bibliography). Most notable from a historical perspective is King's charge that Capt. Back appropriated his own research and that Back's conclusions were less than exact. King praises to great length the Chipewyan chief Akaitcho who fed the starving parties of the first two Franklin expeditions and Back's third and without whose generosity Franklin would not have sailed on his last fateful journey. Arctic Bibliography 8708; Field 831; NMM 857 (ref); Sabin 37831 (calling for 7 plates); Staton & Tremaine/TPL 1899; Streeter Sale 3705; Wagner-Camp 62. Seller Inventory # 27894

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Canticum evangelium summam: BRADSHAWE, Nicholas

BRADSHAWE, Nicholas

Published by John Norton for Robert Bird, London (1636)

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From: Sokol Books Ltd. ABA ILAB (London, United Kingdom)

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About this Item: John Norton for Robert Bird, London, 1636. Softcover. Condition: Good. NOT IN STC 8vo, pp (iv) 48 (ii) lacking initial leaf preceding t-p, certainly blank. Roman letter, decorative woodcut on t-p, woodcut initial & typographical ornaments, water stain to upper outer corners, mostly marginal and quite light, a little browning towards gutter on some ll. A good copy in contemp limp vellum, two panels ruled on covers, inner containing central ornament, all gilt. So far as we can tell the unique copy of the 1636 issue or edition of Bradshawe's only published work. Two other 'copies' are recorded, both apparently dated 1635. The Harley copy now in the BL but comprising the t-p only and the Huth copy, subsequently Edward Almack's, now lost. Accordingly the present copy seems to be the only surviving example of the text. Bradshawe (fl. c.1635) was a fellow of Balliol College Oxford and connected to Sir Arthur and Lady Margaret Mainwaring to whom the work is dedicated. Sir Arthur was a well-known figure at the Court of James I and a favourite of Prince Henry, becoming Lieutenant of Windsor Forest as well as a member of Parliament. He was the lover of Anne Tenant, hanged in 1613 for her part in the Overbury murder. About Bradshawe nothing more seems to be known and this little book of neo-Latin verse based on extracts from the Gospels is similarly unnoticed by the bibliographers. Why it has not survived is a mystery worthy of scholarly investigation. Not in STC. see STC3533.5 for the 1635 issue. No copies in U.S. T-p only at B.L; one known copy 'lost'. Latin. Seller Inventory # L1737

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