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Altowan; or, Incidents of Life and Adventure in the Rocky Mountains. By an Amateur Traveler.

STEWART, William Drummond (ca. 1795-1871) and J. Watson WEBB, editor (1802-1884) 2 volumes, 8vo (7 1/2 x 4 3/4 in.; 19 x 12.1 cm). Light scattered foxing throughout. Publisher's blue cloth blocked in blind, gilt emblem on front covers, spines lettered gilt; expertly recased retaining original spines, hinges and endpapers, spines gently faded with minor losses to spine ends. FIRST EDITION. The account is based on the travels of Captain William Drummond Stewart, a Scottish nobleman, although it is believed that Webb himself wrote it. During the winter of 1836-1837, Stewart met the young American artist Alfred Jacob Miller whom he invited to accompany him to a fur trade rendezvous, a meeting held annually among traders, Native Americans, and Rocky Mountain trappers. Before reaching their destination at Horse Creek (near the present-day border of Colorado and Wyoming), they traveled northwest along the Kansas River to the Platte, passing such landmarks as Scott's Bluff and Chimney Rock. The rendezvous concluded, they headed for the Wind River range of the Rockies in Wyoming, where they spent time hunting before returning to St. Louis in the fall of 1837. The meeting resulted in the present account and in Miller's comprehensive paintings of trappers and Native Americans in the western U.S. fur trade. REFERENCES: Field 1632; Graff 3986; Howes S991; Sabin 91392; Wagner-Camp-Becker 125 PROVENANCE: Estate of Arnold "Jake" Johnson (sale, Doyle's, 12 November 2019, lot 33)
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Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils, engraved by the best hands from the originals drawn in China by Mr Chambers, which is annexed a description of their Temples, houses, gardens &c.

CHAMBERS, Williiam, Sir (1723-1796) Folio (21 2/8 x 14 4/8 inches). Letterpress title-page, dedication to the Prince of Wales, 2-page list of subscribers, preface and 23 pages of text. 21 engraved plates of Chinese designs by Fougeron, Foudrinier and others. Modern half brown morocco, marbled paper boards, gilt. First edition, on heavy paper, the plates with strong impressions. William Chambers was a Scottish Architect, born in Gothenburg in Sweden, where his father was a merchant. From 1744-49 he worked for the Swedish East India Company travelling extensively in China. Fascinated by the architecture he saw he returned to Europe, studying architecture with Blondel in Paris, and setting up his own architectural practice in London in 1755. His work with Lord Bute and other members of the Royal Circle established him as a one of the foremost architects of his day. "Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils" was "the first time Chinese architecture was presented as a subject worthy of the kind of serious study formerly reserved for Western antiquity. One of the handsomest architectural folios of the century, among its 164 subscribers were many of the milordi he had met in Italy. Nevertheless, its influence in Britain was less than Chambers might have hoped. The high fashion for Chinoiserie architecture in England was in the 1740s, a mongrel style made up from diverse ornamental sources. It lacked the authority of first-hand study. Oddly, Chambers himself at Amesbury, Wiltshire; Kew Gardens, Surrey; The Hoo, Hertfordshire; Blackheath, Kent; and perhaps Ingress Abbey, Kent, never used the authoritative detail of the very Designs he had published, except for his unexecuted design for a bridge for Frederick II at Sanssouci, Germany (1763). He may well have sensed that the Chinese architecture he had studied at first hand was an alien style in the Europe of rococo and early neo-classicism. Only after Chambers's death did the book come into its own in England as a model for Chinese decoration (for example at the Brighton Pavilion, 1815). However, on the continent circumstances were different, particularly in Germany and France, where the fashion did not reach a peak until the 1780s. There the book's plates had a profound effect throughout the century, particularly on garden architecture and interior decoration, for example at Drottningholm China House, Sweden (1760s), and Schloss Worlitz, Germany (1770s-1780s)" (John Harris for DNB). Millard 12; Colas 592; Lipperheide le 12; Harris 113.
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History of the Indian Tribes of North America.

MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868) 3 volumes, folio (19 ¾ x 14 in.; 50.2 x 35.6 cm). 120 handcolored lithographed plates heightened with gum arabic, including 117 portraits after C.B. King and 3 scenic frontispieces after Rindisbacher, leaf of lithographed maps and table, 17 pages of facsimile signatures of subscribers, leaf of testimonials regarding the genuineness of the portrait of Pocahontas, state C of vol. 1 title-page, state D of the War Dance frontispiece and state F of Red Jacket, vol. 2 title-page in state B, vol. 3 title-page in state A; vol. 3 frontispiece plate trimmed and repaired, faint text offsetting to 4 plates in same, WITHAL AN IMMACULATE, BRIGHT COPY WITH VIVID COLORING. Half green morocco over pebbled green cloth, gilt titles in decorative border on upper covers, the spine in 7 compartments gilt (2 lettered), yellow-coated endpapers; rebacked and recornered to style; covers rubbed, a few water spots on front cover of vol. 2, dampstaining to flyleaves in all three volumes. FIRST EDITION, "OF THE GRANDEST COLOR PLATE BOOK ISSUED IN THE UNITED STATES UP TO THE TIME OF ITS PUBLICATION AND ONE OF THE MOST IMPORTANT OF THE CENTURY" (Reese), with Volumes I and 2 in the second issue, and Volume 3 in the first issue. Its long publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most important and distinctive books in Americana. Soon after his appointment as Superintendent of Indian Trade in 1816, Thomas L. McKenney struck upon the idea of creating an archive to preserve the artifacts and history of Native Americans. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney throughout his tenure as Superintendent and then in 1824 as first head of the Bureau of Indian Affairs. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the Archives. For the next twenty years, King would capture the likenesses of the many visiting Indian dignitaries who had come to Washington to meet the "Great Father" (i.e., the president), as well as rework the less skillful portraits of James Otto Lewis. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian leaders of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis, likely bitter that he would receive no credit for his portraits that King had reworked, published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work wasn't financially successful. Its exorbitant price prohibited all but the wealthy and public libraries from subscribing to it. REFERENCES: BAL 6934; Bennett 79; Field 992; Howes M129; Lipperheide Mc4; Reese, Stamped with a National Character 24; Sabin 43410a; Viola, The Indian Legacy of Charles Bird King
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Histoire naturelle des oiseaux de l’Amérique Septentrionale, contenant un grand nombre d’espèces décrites ou figures pour la première fois.

VIELLOT, Louis Jean Pierre (1748-1830) 2 volumes, folio (21 5/8 x 13 1/2 in.; 54.9 x 34.3 cm). 131 engraved plates after J. G. Prêtre (including the 7 bis plates) by L. Bouquet, printed in color by Langlois and finished by hand, half-titles, half titles, extra-illustrated with a double-page engraved map by Herisson of L'Amérique Septentrionale handcolored in outline (plate number 42 from an Atlas Universel), as usual; some faint marginal spotting to plates in vol. 2. Contemporary red morocco, covers with border of gilt fillets and a dog-tooth roll, the spines in six compartments with double-raised bands, the bands highlighted with gilt tooling and the space between each pair of bands with a narrow onlay of black morocco, lettered in gilt on labels in the second and third compartments, gilt turn-ins, marbled endpapers; minor soiling, one or two instances of staining. FIRST EDITION OF THIS CLASSIC OF AMERICAN ORNITHOLOGY. The present work contains descriptions of many North American birds, some of which predate those of Alexander Wilson. Viellot, along with Wilson, was a pioneer in a new kind of ornithology in which birds were no longer assessed as specimens and skins but studied as living organisms within their environment. "Louis Jean Pierre Viellot was one of the more discerning ornithologists who gave particular study to female, immature and seasonal plumage" (Allen). The work was originally planned to comprise 40 livraisons, each with six plates; however, only 22 livraisons appeared, before it ceased publication, possibly in 1808. REFERENCES: Allen 549-552; Anker 515; Nissen IVB 957; Fine Bird Books, pp. 149-141; Wood p 612; Zimmer pp. 654-655 PROVENANCE: Samuel Jones-Loyd, 1st Baron Overstone (armorial bookplate on front pastedowns); Robert James Lindsay, Baron Wantage of Lockinge, VC, KCB, FRS (white morocco gilt label on front pastedowns)
The Florist's Guide

The Florist’s Guide, And Cultivator’s Directory

SWEET, Robert (1783-1835) FIRST EDITION, 50 parts, 8vo. (10 x 6 1/2 in.; 25.4 x 16.5 cm.). Uncut (except nos. V & XXXVII), letterpress titles to nos. XXV and L (Volume 1 and 2, respectively) with systematic indexes, multiple advertisements inserted, 200 hand-coloured engraved plates (numbered 1-200) by J. Watts after E.D. Smith (199) and William Prest (1), stab-stitched publisher's printed paper wrappers; light offsetting to text from some plates, marginal soiling to plate 1, minor foxing to 25 & 37, some scattered wear and minor soiling to wrappers, particularly to no. I, wrappers to parts V and XXXVII in facsimile. Housed in two folding cloth cases, green morocco labels. SCARCE ORIGINAL PARTS of Sweet’s practical guide to the cultivation of many of the most beautiful flowering plants then available. Each plate shows a single variety and is accompanied by text giving a taxonomic description and instructions for the plant’s cultivation. The work displays a bias towards the tulip family and includes 61 "biblomen" or multicolored varieties. Also included are carnations (19), "picotees" or dianthus (14), pinks (18), ranunculus (38), "Georgianas" or dahlias (6), auriculas (27), polyanthus (2), hyacinths (7), and roses (8). Not included are any cistus (or rock-roses) or geraniums, both of which were dealt with by Sweet in two earlier monographs. We have a collection of original watercolors relating to this book. Please inquire with Alison Petretti. In addition to the present work, Sweet was author of Hortus Suburbanus Londinensis, London: 1818; Gereniaceae, London: 1820-1830; The Botanical Cultivator, London: 1821; The British Warblers, London: 1823; The British Flower Garden, London: 1823-1829; Cistineae, London: 1825-1830; Sweet’s Hortus Britannicus, London:(1826)1827; Flora Australasica, London: 1827-1828; and in conjunction with H.Weddell, British Botany, London: 1831. REFERENCES: Cleveland Collections 930; Dunthorne 296; Great Flower Books, p. 143; Nissen BBI 1925.
Travels though North and South Carolina

Travels though North and South Carolina, Georgia, East and West Florida, the Cherokee Country, the Extensive Territories of the Muscogulges, or Creek Confederacy, and the Country of the Chactaws

BARTRAM, William (1739-1823) 8vo (8 1/4 x 5 in.; 21 x 12.7 cm). Engraved frontispiece portrait of Seminole Chief Mico Chlucco, 7 engraved plates (one folding), engraved folding map of East Florida; scattered foxing to frontispiece, title-page, and terminal leaf, quire Cc toned. Contemporary tree calf, gilt armorial supralibros of the Barons Holland; rebacked in tan calf, board edges rubbed. FIRST BRITISH EDITION, A CLASSIC OF SOUTHERN FRONTIER LITERATURE. "Unequaled for the vivid picturesqueness of its descriptions of nature, scenery, and productions" (Sabin). Bartram's account is a scientific work and "an affirmation of American science that includes a straightforward listing of the flora and fauna of the region"(Magee, p. 124). His "defense of the indigenous peoples of America was also an attempt to refute the spurious accusations that arose from Buffon's statements concerning the degenerate nature of the inhabitants of America" (Magee, p.123). "He neglected nothing that would add to the common stock of human knowledge"(Field). REFERENCES: Clark, Old South 1:197; Field 94-96; Howes B223; Magee, Judith. The Art and Science of William Bartram (Pennsylvania University Press, 2007); Pilling, Iroquoian, p. 10; Pilling, Muskhogean, pp. 6-7; Sabin 3870 PROVENANCE: The Barons Holland (gilt armorial supralibros on front cover and bookplate of Holland House with various shelf markings in ink and red crayon on front pastedown)
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Manuscript Real Estate Ledger for New York City and New Jersey

MACLAY, Isaac Walker (1841-1908) - William E. DAVIES. Folio (13 4/8 x 8 4/8 inches). 82 original manuscript maps in pen and ink with colour wash of individual lot surveys for plots in New York City and New Jersey, and a few other locations, large folding lithographed maps of "Eligible Building Sites between Alpine and Closter, Bergen County, New Jersey" for sale by Maclay & Davies, 1887, and "Residential and Building Sites at Orange Heights in the Township of West Orange, Essex County, N.J.", 1892. Disbound, original black morocco, cloth cover present. An extraordinary record of the extensive and increasingly valuable property portfolio of the Maclay & Davies Real Estate Co., of New York, founded by Isaac Maclay in 1867. Maclay graduated from West Point Military Academy in 1864, and in April of 1865, on the night of the assassination of President Lincoln, at Ford's Theater, in Washington, by J. Wilkes Booth, Major Maclay, with two other officers of the Washington Arsenal, Maclay attended the theater, and "after the shooting he, his fellow officers, a young Mr. Rathbone and several citizens round the President to the Peterson House, and placed him on a bed in a rear room. This house is now known as the Lincoln Museum. Then Mr. Maclay went for Dr. Todd, the President's family physician, after which he was detailed to guard the residence of the Secretary of War, Mr. Stanton" (Obituary in the Yonkers, N. Y., Statesman of December 30, 1908). Maclay became Chief Ordnance Officer of the Department of the Platte, and was a member of the Board appointed to appraise the value of the arsenals at Rome, N. Y., Vergennes, Vt., and Fayetteville, N. C. When Maclay retired from active military service shortly after the Civil War, he was appointed Assistant Topographical Engineer of the Department of Parks, New York City. He was "the engineer in charge of the surveying and laying out and monumenting of the streets, roads and avenues north of 155th street, on Manhattan Island, and also in the 24th and 25th wards after their annexation to that city. He resigned from that position to accept the appointment of Chief Engineer of the Long Island Railroad. In 1867 he established the firm of Maclay & Davies, in connection with William W. Davies, which firm subsequently engaged in the real estate business, and in which he continued until his death.The Major's real estate firm built the first of the iron piers erected at Long Branch and Rockaway" (Obituary in the Yonkers, N. Y., Statesman of December 30, 1908) The 82 manuscript maps in the Ledger show properties in: Sackett Street, Union Street, and Degraw Streets, Brooklyn; Hunts Point in the Bronx; houses in Lexington Ave., W. 68th Street, W. 56th Street, E. 123rd Street, 114th Street and 1st Ave., W. 10th Street, 87th Street, 88th Street, 148th Street, 10th Ave., Park Ave., 85th Street, 136th Street, W. 97th Street, E. 111th Street; Echo Farm, Stable and Smith Shop, Demarest Ave., Bogert Purchase, Bell Lot, Bell Wood Lot, Polk, and Colonial Cottage, Demarest, New Jersey; Madison Street Pasaic, New Jersey; Newark New Jersey; Felter Farm, Westwood, New Jersey; Pearson, Orange Heights, New Jersey; Coytesville, Rdgefield Township, Tenafly, and extensive property in Kensington, Schraalenburgh, Bergen County, New Jersey; Salter, Springfield, New Jersey; Thayer, Ogden, and Blyth, Englewood, New Jersey; Rowhl Lot, Closter, New Jersey; Rutherford Heights, Rutherford, New Jersey; Mahwah, New Jersey;The Howland, West Englewood, New Jersey; a large plot between Clinton and Columbia Streets, Plainfield, New Jersey; Bay View Ave., Englewood Township, Bergen County, New Jersey; extensive property in West Orange & Livingston, New Jersey; property in Bolder, Colorado; Biegen Dock, Valentines Lane and Hawthorne Ave.,Yonkers, New York; Hatchkiss, Irvington, New York; Pelhamdale Ave., and Boston Post Road, Manor Lane, Pelham; Cottage Ave., St. Louis; Jefferson County, and Jackson County, Missouri; 92 acres in Sing Sing; river frontage in Farmingdale, Long Island; Riverside, Chicago; Virginia; and even in Winnipeg, Selkirk, Canada. In addition to listing the title holders of the properties, which in the early days were the wives of Maclay and Davies, May Davies and Laura A. Maclay, details of the mortgages held and rents dues, as well as selling prices and purchaser details are recorded. Later partners in the more extensive transactions in New Jersey particularly, include John C. Shaw and William Schneider. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department
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The Birds of America, from Drawings made in the United States and Their Territories.

AUDUBON, John James (1785-1851) 7 volumes, 8vo (10 x 6 1/2 in.; 25.4 x 16.5 cm). 500 handcolored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly, and others, printed and colored by J. T Bowen, numerous wood-engraved text illustrations (some full-page), half-titles and subscribers' lists; lacks half-titles in vols. 1-2 and subscriber's list in vol. 7, toning and light text offsetting to plates usually in front and back, occasional pigment offsetting to text, 9 horizontally oriented plates shaved along top margin, a few costing plate numbers or credits and just touching the image, plates 478-479 and accompanying text spotted, plate 471 bound after plate 475. Publisher's green morocco blocked in blind, spines lettered gilt, edges gilt; vol. 1 expertly recased, extremities a bit rubbed, spines faded to brown. FIRST OCTAVO EDITION, ONCE OWNED BY DR. PATRICK MACAULAY, ONE OF THE FIRST SUBSCRIBER'S TO THE WORK. Macaulay (1795-1849) was not only a physician, but also a city councilman in Baltimore, a director of the B & O Railroad, and a patron of the arts. His estate, Mondawmin, was situated on the hilly countryside several hundred feet above the Inner Harbor area. Tradition relates that Henry Wadsworth Longfellow visited Dr. Macaulay, who asked him what to name his home, then surrounded by corn fields. The poet allegedly looked around and replied, "Why not Mondamin, after the Indian corn god?" (Mapmakers later added a "w" to the name, and it stuck.) After completing the double-elephant folio edition at great expense in England, Audubon returned to the United States and used the Philadelphia firm of Bowen to produce a more profitable octavo version under the supervision of his sons. The subscription price was $100, making it an expensive but appealing work for affluent individuals and well-endowed institutions. It enjoyed tremendous commercial success, with the initial offering attracting over 700 subscribers, and firmly established Audubon's reputation as the greatest ornithologist of his time. The octavo edition added 65 new images to the original plate count of the double-elephant folio. REFERENCES: Ayer/Zimmer, p. 22; Bennett, p. 5; McGill/Wood p. 208; Nissen IVB 51; Reese, American Color Plates Books 34; Sabin 2364; cf. Tyler, Audubon's Great National Work PROVENANCE: Dr. Patrick Macaulay (bookplate and in vol. 1 subscriber's list)
Forma y Levantado de La Ciudad de Mexico. Ju:o Gomez de Trasmonte Ao. 1628.

Forma y Levantado de La Ciudad de Mexico. Ju:o Gomez de Trasmonte Ao. 1628.

VINGBOONS, Johannes (1616/1617 – 1670), after TRASMONTE, Juan Gomez de (1580- ca 1647). VINGBOONS, Johannes (1616/1617 - 1670), after TRASMONTE, Juan Gomez de (1580- ca 1647). Forma y Levantado de La Ciudad de Mexico. Ju:o Gomez de Trasmonte Ao. 1628. Amsterdam: Johannes Blaeu, ca 1665. 2 sheets joined (20 4/8 x 29 inches; 16 x 21 2/8 inches to the neat line), EXCEPTIONALLY FINE AND EARLY BIRD'S-EYE VIEW OF MEXICO CITY, original pen and ink and watercolour wash over black chalk, and beneath very fine, almost invisible blind gridlines, on paper watermarked with a crowned escutcheon with bear, identified by Th. Laurentius as the Arms of Switzerland, dating from 1600 - 1650, and often used in the Netherlands, laid down on 17th-century paper at an early date. A BROAD PANORAMIC AND BEAUTIFUL VIEW OF MEXICO CITY, looking east, showing the layout of the City surrounded by fields, gardens, and jungle, with Lake Texcoco in the background, other islands, low peaks on the eastern shore, and the Tlaloc mountain range beyond; the title and 2 keys or legends within banners running along the top edge: "Por la correspondencia de los numeros se hallan en esta copia los conventos y cosas senalados", listing in the lefthand corner "A. Palacio Re.l / B. Cathedral. / C. Casa de Cabildo. / D. Casa Arpt. / F. universidad. / G. Alameda. / Las demas casas estan entendias por su demonstracion como as distinto parece por la plana. Ju:o Gomez de Trasmonte Ao. 1628"; all surrounded by borders of black ink and red and yellow wash (central vertical crease from old fold, evidence of early atlas mounting on verso). Provenance: as part of an atlas of at least 114 sheets of views and maps, with Weduwe (ie Anna Hendrina Calkoen, Widow of) Gerard Hulst van Keulen, who was at the helm of the famous Van Keulen publishing firm of Amsterdam between 1801 and 1810, although the company continued to publish under her imprint until 1885, even though the catalogue had passed to the descendants of employee Jacob Swart Boonen, Gerrit Dirk Bom, who published a history and bibliography of the firm, "Bijdragen tot eene geschiedenis van het geslacht "Van Keulen" als Boekhandelaars, Uitgevers, Kaart - en Instrumentmakers in Nederland; eene Biblio-cartographische Studiein", Amsterdam: H.G. Bom, 1885, in the hopes of finding a buyer for the firm; as part of an atlas with the Amsterdam antiquarian book and mapseller Fredrik Muller & Co., who (according to the Library of Congress, which in turn holds a number of sheets of views and maps from that copy of the atlas, bequeathed to them by the bibliographer Henry Harrisse), sold the maps and views individually at public sales in 1887, this map numbered "7" in the top right-hand corner, in a similar fashion to the maps held by the Library of Congress; purchased in Antwerp in about 1946, and by descent to the most recent owner. THE FIRST CHOROGRAPHIC IMAGE OF MEXICO CITY, ONE OF ONLY FOUR EXAMPLES KNOWN OF VINGBOONS' magnificent image of the Mexico City, "Forma y Levantado de La Ciudad de Mexico", or "Plan and Elevation of the city of Mexico", this copy with text in the ORIGINAL SPANISH, rather than Dutch. ONE OF ABOUT 240 VIEWS AND MAPS OF THE DUTCH GLOBAL EMPIRE DURING ITS GOLDEN AGE, CREATED BY VINGBOONS, AND OF EXCEPTIONAL IMPORTANCE, BEAUTY, AND RARITY IN THE MARKET. The other known copies of Vingboons' view of Mexico City are found in: - the Christina Atlas in the Vatican Library, signed by Vingboons, undated and in Dutch; - the Castello Collection in the Biblioteca Medicea Laurenziana in Florence, Italy, acquired by Cosimo III in Amsterdam in 1667, as our copy, with attribution to Trasmonte, dated 1628, and in Spanish; - and the "Eugene Atlas", or the Bleau-Van der Hem Atlas, in the Osterreichische Nationalbibliothek in Vienna (although these may not be by Vingboons), as our copy, with attribution to Trasmonte, dated 1628, and in Spanish. The almost invisible gridlines on our example of the view of Mexico City may have been added by an engraver with the Van Keulen firm, with a view to publishing the atlas as part of
Histoire Des Chenes De l'Amerique

Histoire Des Chenes De l’Amerique, Ou Descriptions et Figures De Toutes Les Especés et variétés De chenes De l’Amerique Septentrionale, Considérées Sous Les Rapports De La Botanique, De Leur Culture et De Leur Usage

MICHAUX, André (1746-1802) Folio (17 3/4 x 11 1/4 in.; 44.9 x 28.6 cm.). Half-title, 36 engraved plates (numbered 1-36), plates entirely and text largely uncut; some light browning and spotting, chiefly marginal, to text and plates, extremities of binding rubbed, some minor repair, folding case lightly soiled and dampstained. Near-contemporary French red half morocco, blue-marbled boards, smooth spine gilt-ruled in eight compartments, folding cloth box. FIRST EDITION OF MICHAUX’S GROUNDBREAKING MONOGRAPH ON AMERICAN OAKS. The French botanist and adventurer, André Michaux, traveled from Hudson's Bay to Florida and as far west as the Mississippi River, including an arduous journey into the mountains of western North Carolina. He sent thousands of plants to France, having been directed by his government to collect samples of timber trees and plants that could be used for food or medicine. The work—present here in MacPhail's issue b, with the longer and more thorough text—describes twenty species and sixteen varieties of oaks, with their leaves and acorns brilliantly illustrated by Pierre Joseph and Henri Joseph Redouté. The descriptions present information about size, location, and practical uses of the various species of oak trees for houses, ships, ink, barrels, wheels, various carpentry work, and even firewood. Michaux, with his son François-André, established nurseries in Hackensack, New Jersey, and Charleston, South Carolina. In addition to introducing many American plants into French horticulture, he introduced or further disseminated a number of plants to the United States, including the azalea, camellia, silk tree, ginko tree, chinaberry tree, and tea olive. REFERENCES: Aitken, p. 179; De Belder sale, 239; Dunthorne 249; Great Flower Books, p. 119; Hunt Redoutéana 8; MacPhail, André and François-André Michaux 1b; Madol 20; Nissen 1358; An Oak Spring Sylva 18; Pritzel 6194; Stafleu TL2 5957.

Oxoniae, Atque Cantabrigiae Universitates Celeberrimae

CORONELLI, Vincenzo Maria (1650-1718). Oblong 4to (8 1/4 x 11 1/4 in.; 20.8 x 28.7 cm.). 2 parts in one volume, bound as follows: half-title, part-title "Cambridge Da' Latini detta Cantabrigia", engraved portrait of Queen Anne after Godfrey Kneller, 33 engraved views and maps (3 folding); title "Oxoniae, atque Cantabrigiae Universitates celeberrimae", engraved royal coat of arms, engraved portrait of Queen Anne (repeated), half-title, part-title "Oxfort Da' Latini chiamato Oxonium", 70 engraved plates and maps (12 folding), uncut; one folding plate repaired, minor spotting, occasional marginal tears. Modern boards with label to spine and upper cover, folding cloth box. RARE composite Coronelli atlas with detailed views, maps, costume plates and plans of Cambridge and Oxford. Coronelli was both cleric and encyclopedist, with a particular interest in geography and cartography. He joined the Franciscan Order in Venice in 1665 and six years later entered the convent of Santa Maria Gloriosa dei Frari, which was to become his professional workshop. He was sole author or contributor to over one hundred and forty titles and produced several hundred maps, either printed separately or as parts of atlases. Coronelli published his groundbreaking cartographic work in a number of notable publications, including the "Atlante Veneto" (1691-1692), the "Corso Geografico Universale" (1692 & 1695) and the "Isolario" (1696-1697). After he completed his service for Louis XIV, Coronelli returned to Venice in 1684 and founded the "Accademia Cosmografica degli Argonauti," a geographical society with membership drawn from the aristocracy and church hierarchy, and a year later he was appointed Cosmographer to the Republic of Venice. At the end of the seventeenth century, he was perhaps the most famous map publisher in Europe and received constant requests from his contemporaries for information that would enable them tobring their atlases up to date. Shortly after his death, however, his name and work were quickly forgotten, and he remained in obscurity for several centuries. The lasting influence of his work is undeniable, however, and modern appreciation has more than compensated for the earlier lack of recognition. Shirley 537.
The Gardener's Magazine of Botany; Horticulture

The Gardener’s Magazine of Botany; Horticulture, Floriculture and Natural Science

MOORE, Thomas and AYRES, William P. 2 volumes, 4to. (10.2 x 7.2 in.; 26 x 18.4 cm.). Tinted lithographic extra title to volume 1, numerous wood-engraved vignettes in the text, 70 hand-colored lithographic plates of flowers, fruits, and insects, 11 uncolored plates of ferns by S. Holden or C.T. Rosenberg, printed by C.H. Cheffins; occasional minor soiling not affecting plates, gathering P loose in volume 2. Contemporary half green morocco, cloth boards, edges gilt; rubbed. AN EXCELLENT EXAMPLE OF HORTICULTURAL JOURNALISM. Thomas Moore, the curator of the Botanic Garden at Chelsea, intended this publication for professional gardeners. It survived for two years with a total of 100 plates being published between January 1850 and December 1851, but closed due to a lack of subscribers. The preface to volume three (lacking in this set) notes that "the fact was to some extent overlooked that [the professional gardener].did not always possess a means of spending his monthly half-crown on one periodical, however high his appreciation of it might be. Experience has further shown.that among gardeners, the numbers who seek for Scientific Information and Technical Botany are a limited class.". Unshaken in his committment to horticultural journalism, Moore went on to serve as the editor of the Garden Companion and Florists' Guide in 1852, the Floral Magazine in 1860-1861, the Gardeners' Chronicle from 1866 to 1882 (with John Lindley), the Florist and Pomologist from 1868 to 1874, and the Orchid Album from 1881 to 1887 (DNB). PROVENANCE: with ink ownership signatures on front pastedowns of "R.T. Matthiesen, 1976, and [illegible]. REFERENCES: Catalogue of the Printed Books.Linnaean Society of London, 1925; Plesh sale 548, not in Nissen or Pritzel.
The Botanical Magazine; or

The Botanical Magazine; or, Flower-Garden Displayed

CURTIS, William (1746-1799) 20 volumes, 8 vo.(10 x 6 in.; 25.5 x 15.2 cm.). Letterpress titles and indexes, including the general index to volumes 1-10 and 11-20 bound in volumes 10 and 20, respectively. "Catalogue of Seeds" bound at end of volume 13 , engraved portrait of William Curtis in volume 20, 786 engraved plates, comprising 785 hand-colored plates, 3 folding, and 1 uncolored plate (numbered 1-126, 128, 127, 129-144, 139-141, 145-204, 207-205, 209-786), uncut; some light offsetting, occasional marginal soiling or spotting, approximately 40 plates lightly toned, portrait of Curtis foxed. Contemporary half calf with marbled paper covered boards, spine gilt in six compartments, brown morocco labels in the second; extremities rubbed with occasional minor lossed, some hinges cracked but holding. A FINELY ILLUSTRATED BOTANICAL PERIODICAL. An early run of the greatest horticultural journal in history and "the oldest current scientific periodical of its kind with colored illustrations in the the beauty of production and high standard of its contributions it can claim a uniques place" (P.Synge, Journal of teh Royal Horticultural Society, 73 (1948), 5-6). It forms a remarkable record of the introduction of new plants, particularly exotics. In his preface to volume 1, Curtis staes: "The present periodical publication owes its commencement to the repeated solicitations of several ladies and gentlemen.who were frequently lamenting the want of a work, which might enable them, not only to acquire a systematic knowledge of the foreign plants growing in their gardens, but which might at the same time afford them the best information respecting their culture, in fact, a work in which botany and gardening.or the labour of Linnaeus and Miller, might happily be combined.". REFERENCES: A Cleveland Herbal 577; De Belder slae 88; Great Flower Books, pp. 156-157; Henrey 472 472; Hunt 689; Nissen BBI 2350; Plesch sale 164; Stafleu TL2 1290.
Florilegium Amplissimum et Selectissimum; bound with Florileglii Pars Secunda (1631)

Florilegium Amplissimum et Selectissimum; bound with Florileglii Pars Secunda (1631)

SWEERTS, Emanuel 2 parts in one volume, folio (15 1/2 x 9 3/4 in.; 39.4 x 24.8 cm.). Etched allegorical title and portrait of Sweerts, letterpress title to part two, 110 engraved plates (numbered 1-67, 1-43), numerous woodcut initials and initial-frames, woodcut and type ornament headpieces; early annotations and manuscript index at end; minor worming, etched title extended, portrait supplied from another copy, occasional restoration and repairs, scattered spotting or dampstaining, a few plates shaved or cut close. Near contemporary vellum over pasteboards, plain endpapers, red sprinkled edges, green cloth folding case, green morocco spine label; binding worn and soiled. A good mixed-set of Sweerts's popular work, which was widely reprinted. "The first two editions were essentially catalogues for the selling of plants and bulbs, while the later editions were true florilegi intended for the connoisseur and the scientist." (An Oak Spring Flora). Sweerts divided his Florilegium into two parts: the first deals with bulbous species (including gladioli, hyacinth, iris, lilies, narcissi, daffodils, peonies, and tulips) and the second with species having "fibrous" roots (hellebores, canna, lily of the valley, chrysanthemums, and many others), as well as a number of gragrant trees such as myrtle, arbor-vitae, and juniper. Altogether over 560 flowering bulbs, shrubs, trees, fruits, and vegetables are depicted, generally grouped by species. PROVENANCE: Charles P. Berolzheimer sale, Doyle 3 November 1999, lot 258. REFERENCES: A Cleveland Herbal 182 and 207; De Belder sale 348; Hunt 196; Nissen BBI 1921; An Oak Spring Flora 9; Pritzel 9073.
The Birds of America

The Birds of America, from Drawings Made in the United States and Their Territories

AUDUBON, John James (1785-1851) 4 volumes, broadsheets (38 1/4 x 25 5/8 in.; 97.2 x 65.7 cm., with slight variation). 4 Engraved title-pages and 435 handcolored etched plates (numbered I-X,11-100,CI-CCCCXXXV) with line-engraving and aquatint by William H. Lizars of Edinburgh and by Robert Havell and Robert Havell, Jr. of London; occasional, and as usual, scattered soiling, offsetting, or marginal repair; a small library stamp has been effaced from the margin of each plate, but in most cases, virtually imperceptible; the title-pages are (again as usual) creased and rebacked, and there is minor creasing to a very few plates at the front and back of some of the volumes; the first few plates of the first volume are on guards; a handful of the largest plates have a tiny bit of shaving at the edges or have their captions partially obscured by the binding. Bound in contemporary half calf over marbled boards, renewed spines gilt-ruled with 12 raised bands and title-lables, calf corners, marbled endpapers; rubbed. The four volumes are housed in a George IV oak folio cabinet, ca. 1830. Accompanied by Audubon's companion text, Ornithological Biography, or An Account of the Habits of the Birds of the United States; accompanied by Descriptions of the Objects represented in the Work entitled The Birds of America, and Interspersed with Delineations of American Scenery and Manners. Edinburgh and London: Adam& Charles Black, Robert Havell, Jun., et al, 1831-1849 [i.e.1831-1839]. 5 volumes, 8 vo. Contemporary brown calf gilt, volume 5 bound to style. (Adubon issued his text as a distinct and separate publication in order to skirt British copyright regulations, which would have otherwise required him to give a set of his very valuable plates to nine copyright libraries in the United Kingdom.). 435 MAGNIFICENT HANDCOLORED ETCHED PLATES AFTER THE ORIGINAL LIFE-SIZED WATERCOLOR DRAWINGS BY AUDUBON (some botanical and landscape backgrounds by friends adn collaborators of Audubon, including Joseph Mason, George Lehman, and Maria Martin), depicting 1,065 birds representing 489 supposed species. AN EARLY SUBSCRIBER'S COPY OF AUDUBON'S "DOUBLE ELEPHANT FOLIO" - INCOMPARABLY THE MOST IMPORTANT AND MOST BEAUTIFUL COLOR-PLATE BOOK EVER PUBLISHED. THE WATERMARKS OF THE FIRST TEN IMAGES IDENTIFY THIS COPY AS ONE OF THE FIRST FOR WHICH AUDUBON RECEIVED A SUBSCRIPTION. THIS IS AN UNUSALLY LARGE AND BRILLIANTLY COLORED COPY, WITH THE PLATES IN A VERY EARLY STATE: ALL TEN FIRST PLATES ARE ENGRAVED BY LIZARS ALONE, PRIOR TO RETOUCHING BY HAVELL JR., AND 14 OF LOW'S 150 VARIABLE PLATES ARE PRESENT IN THE FIRST STATE. PROVENANCE: This set was subscribed for at the outset of Audubon's remarkable undertaking by the Yorkshire Philosophical Society (founded 1822), each volume bears the Society's bookplate, as well as a catalogue label with accession number 3591 and class symbol "Mi.". Audubon visited York during late April, 1827, and recorded this subscription in his journal on 27 April: "A long walk early, and then many visitors. Mr. Vernon (president fo the Philosophical Society of York) among them who subscribed for my work" (quoted by Fires). The subscription is also recorded in Audubon's manuscript and printed lists of subscribers. The original subscriber sold the set at Sotheby's London, 17 December 1946, where it was designated as "The Property of a Learned Society". The purchaser in the 1946 auction was the celebrated English bookseller Charles Traylen, who sold the set in 1948 to Joseph Verner Reed, Sr., of Greenwich, Connecticut. Upon Reed's death in 1973, his set of the Bird's of America was bequeathed to Deeerfield Academy in Massachusetts. With the acquiescence of the Reed family, Deerfield sold the set by private treaty in 1985 to an English collector, and the proceeds were used to establish the Reed Arts Center at the school. The new owner retained the set for only five years, when it reappeared in Sotheby's London rooms, 21 June 1990, designated as "Property of a Nobleman". The 1990 a
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Carte Generale Du Territoire D’Orleans Comprenant Aussi La Floride Occidentale et Une Portion Du Territoire Du Mississippi. Dresee d’apre Les Observations le Plus Recentes Par B.mi Lafon, Ingenieur Geographe a la N.elle Orleans

LAFON, Barthelemy (1769-1820) Large engraved map (34 x 50 3/4 in.; 86.3 x 128.9 cm.). Graphic scales in "Lieues Marines" and "Lieus Communes", scale 1:530,000, prime meridian: Paris, a 32 point compass rose to aid mariners in the Gulf of Mexico, and an inset chart titled "Latitudes et Longitudes." which provides geographical coordinates for twenty-one important towns, forts and topographical features. AN EXTREMELY RARE MAP WITH GREAT CARTOGRAPHIC SIGNIFICANCE. "Lafon's large printed map, which included much of modern Louisiana, IS ONE OF THE EARLIEST COMPREHENSIVE MAPS OF ANY STATE OR TERRITORY IN THE UNITED STATES. It appeared shortly after the Louisiana Purchase and provided significant detailed information not available on previous maps." (Lemmon). The map extends from Pensacola to about half a degree west of the Sabine River, and from the 33rd parallel to the tip of the Mississippi delta. Its accuracy is evidenced by the placment of the crossing of the Sabine by the main highway to Mexico at aprroximately only 5' too high. The map is the most detailed topographic delineation of the territory executed up to that date and includes portions of the Mississippi Territory, the "Pays de Tchactas," the "Comte des Nachitoches", and the Red River country as well as such details as rivers, streams, lakes, forts, settlements, locations of Indian lands and tribes, the roads of the day, as well as the depths of bodies of water and the names of cotton planters. Barthelemy Lafon came to New Orleans from France in 1790. He was a colorful figure in the city's history as he was not only the deputy surveyor of the Orleans parish, an engineer, and an architect, but he was also occasionally a privateer in the league with the notorious Lafitte brothers Pierre (1779-1844) and Jean (1782-1854). Lafon also laid out the faubourg, now called the Lower Garden District. Lafon's map is perhaps the first map published in New Orleans, however, the exact circumstances surrounding the map's publication and printing have been the subject of conjecture. A letter from Lafon to William Dunbar, dated August 19, 1805, in "Life, Letters and Papers of William Dunbar" (Jackson, Missippi, 1930), states that he had just completed his map of the Territory on August 15 and discusses manuscript maps of the region. An advertisement in the National Intelligencer of November 22, 1805, announces the publication of this map at Philadelphia, "probably ready for delivery in the month of May next". This map is not recorded in either McMurtire's "Early Printing in New Orleans 1764-1810" or Jumonville, a record publication of almanacs by Lafon. REFERENCES: American Imprints 10690; Gran (Edin) mar. 1938 catalogue, item no. 16; Louisana Digital Library; Lemmon, Magill and Wiese. eds. "Charting Louisiana: Five Hundred Years of Maps".