Hordern House Rare Books

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Wanderings in New South Wales, Batavia, Pedir Coast, Singapore, and China; being the journal of a naturalist in those countries during 1832, 1833, and 1834

BENNETT, George Two volumes, octavo, with an aquatint frontispiece in each volume (Bugong Mountain, NSW, in vol. 1, top border just shaved by the binder; the European Factory at Canton in vol. 2), errata slip laid down; in a very good 19th-century binding of red half calf with double black labels, marbled boards; armorial bookplate in each volume. A very attractive copy of this travel classic by 'the greatest of the physician naturalists of Australia' (ADB). This copy in a very good period binding has a good provenance, with the armorial bookplate in each volume of John Fitzgibbon, Baron Fitzgibbon in the British peerage and second Earl of Clare in the Irish peerage. A close friend of Lord Byron (who could never hear the name Clare "without a murmur of the heart"), Fitzgibbon was a significant colonial administrator, governor of Bombay at the time of this publication and a member of the Royal Asiatic Society; Bennett's Wanderings would thus have been of obvious interest to him. Bennett made two visits to Australia before permanently settling in Sydney in 1836, after which he established a successful practice and became a leading figure in colonial science holding numerous positions in bodies such as the newly-established Australian Museum, the Acclimatization Society, and the Zoological Society. During these two early visits to Australia, in 1829 and 1832, Bennett travelled extensively throughout New South Wales observing conditions amongst the settlers, convicts and various Aboriginal tribes. He is a good source for his observations on colonial farms, a smallpox epidemic among the Aborigines, the kangaroo hunt, koalas, wombats, emus, and other Australian flora and fauna. He journeyed inland to make observations on fauna, specifically the platypus. He also collected many fossils and natural history specimens for the comparative anatomist Richard Owen. Bennett's zoological work during these trips earned him the gold medal of the Royal College of Surgeons. This eminently readable and very interesting account of Bennett's extensive Pacific wanderings also includes descriptions of various Asian ports visited during the voyages. Of particular interest are the descriptions of the large Ungka ape which Bennett collected in Singapore, and the native girl he rescued from the New Hebrides, whom he named Sophia. She accompanied him to London, but died in Plymouth three years later. He includes descriptions of New Zealand flax and its manufacture in Sydney, as well as matters as various as leprosy, the opium trade, the museum at Macao, Chinese plantations, and the cocoa-nut tree.
Travels into Several remote Nations of the World. In Four Parts. By Lemuel Gulliver.

Travels into Several remote Nations of the World. In Four Parts. By Lemuel Gulliver.

SWIFT, Jonathan Two volumes, octavo, with four maps, two plans and engraved frontispiece portrait (second state); panelled calf, sides bordered and decorated in gilt and blind, spines ornately panelled in gilt with triple lettering pieces, all edges gilt, by Morrell. One of the greatest of all works of English literature. This is a particularly attractive set of the first edition of Gulliver's Travels, the first volume in Teerink's state 'A' and the second state 'AA': that is, the first and second states of the three original printings of the first edition. A further state ('B') followed. As Teerink shows, although the words "Second Edition" appear on the title-page of the second volume, this was not followed in the later state 'B' and the subsequent edition of 1727 became the real "second edition". "One of the most famous English books of all time - Gulliver's Travels - is a series of imaginary voyages partly set in Australia. The hero is made a cousin of William Dampier and in the very year (1699) when Dampier was exploring the north-west of Australia, Gulliver's ship is 'driven by a violent storm to the north-west of Van Diemen's Land'. With a latitude given as 32°2' south, the imaginary Lilliput, setting of the first of Gulliver's four voyages, is placed somewhere in South Australia. Gulliver's Travels is an essential starting point for any collection of fictitious voyages to Australia." (Davidson). With its map of an imaginary 'South Australia' coast and obvious derivation from Dampier, this must be the greatest work of literature associated with Australia.
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The complete suite of twelve views [published as “Twelve views in Adelaide and its vicinity”]

NIXON, Frederick Robert Oblong quarto, 12 original full page etchings; attractively bound into later wrappers and housed in a solander case by Aquarius. Nixon's rare suite of twelve etchings: the very first South Australian illustrated book to have been published. These simple and delicate views depict an Adelaide very much in its infancy. Wide unsealed streets are almost deserted save for small clusters of local Aboriginal people and the odd settler. This series of views provides important documentation of the first buildings and the complexion of the city before the sweeping changes brought about by the gold rush. Frederick Robert Nixon (c.1817-1860) was appointed an assistant surveyor for South Australia in 1837 and in 1841 became superintendent of emigrant working parties. He was a self-taught artist and whilst in Adelaide became well known as a draughtsman. He also taught himself etching techniques which he used to self-publish this Twelve Views in Adelaide and its Vicinity in 1845: 'Of considerable historic interest today, the twelve views reveal skill in composition and an understanding of etching' (Frank Cusack in J. Kerr (ed.) Dictionary of Australian Artists). The suite of twelve etchings cost one guinea and was favourably received by the local press: 'he deserves the greatest credit for his industry, perseverance, and skill. the etchings are superior as works of art, and accurately as well as pleasingly depict the scenes which they represent' (South Australian). Nixon also appears to have tried to market his book in England: 'the English publishers of Australian travels, Thomas and William Boone, advertised Nixon's Twelve Views as six shillings (sterling) in one of their book catalogues of 1845 or 1846' (Australian Rare Books published Hordern House, 1987). This is one of the rarest of all Australian illustrated books and indeed of Australian books in general. The list of original subscribers to the publication (printed on the back wrapper, so present in this copy in facsimile), accounts for only ninety-three copies of the work, five of which were bought by the governor of South Australia. Ferguson described the publication as 'rare' (quite a strong word for him) and Australian Rare Books notes that 'it is so rare that it cannot be considered essential to a collection. [but] a collector should consider it essential not to let any copy pass him by without a hard fight.'. In later wrappers, very good condition
Carte de l'isle Bonaparte Assujettie aux Opérations Géométriques de MM. la Caille

Carte de l’isle Bonaparte Assujettie aux Opérations Géométriques de MM. la Caille, Chisny & de l’Auteur.

LISLET GEOFFROY, Jean-Baptiste Manuscript chart; 440 x 540 mm., expertly drawn details in ink on laid paper. A beautifully-drawn large manuscript map of Île Bonaparte (modern Réunion) commissioned in anticipation of the naval actions that would determine possession of the French Indian Ocean Territories during the Napoleonic Wars. An expert piece of work, it was prepared in 1808, at a time of escalating tensions between the French and the British, and when the French Governor Charles Decaen had detained Matthew Flinders on the neighbouring island of Mauritius (Ile de France), a mere 175 kilometres away. Decaen believed Flinders' knowledge of the island's defences would encourage Britain to attempt incursion and Flinders was imprisoned there for much of the Mauritius campaign of 1809-11. The French Government commissioned Lislet Geoffroy to prepare this manuscript as the French were ramping up the use of Réunion and its more important eastern neighbour Mauritius for their ongoing raiding of British shipping in the region. The French Government had dispatched the Baudin voyage veteran Jacques Hamelin to the region in command of the Vénus with orders to use the regional harbours as strongholds from which to attack the British India trade. The British Navy, under the overall command of Admiral Bertie, overcame their initially unsuccessful attempts to counter-attack with a tactically astute plan to take Réunion and Mauritius by ground invasion, crippling the French. In the event the more sparsely populated Réunion was taken first and used as a springboard for the November 1810 assault on Mauritius. Matthew Flinders was paroled from his Mauritian imprisonment just months before, in mid-1810, following the British blockade of the island. Testament to the shifting political realities of the Indian Ocean, Geoffroy Lislet's work was openly adopted eleven years later by the major London map-maker Arrowsmith, who issued a map featuring the Frenchman's work in 1819. In Arrowsmith's Memoir and Notice explanatory of a Chart of Madagascar that 1819 printed map was accompanied by a description written by the English Governor, Robert Townsend Farquhar. He describes the great utility of proper mapping of this important region for trade, and praises the friendly assistance of Lislet Geoffroy in its preparation. Townsend comments that the 1819 map was based in part on the ". materials which had been collected by the French Government", and which he had lost no opportunity to review. Lislet-Geoffroy's own memoir in the same publication describes how he had been closely involved in mapping the region for over 20 years, and was glad of the opportunity to publish such a thorough account. Jean-Baptiste Lislet Geoffroy (1755-1836), French botanist and cartographer, spent most of his life in the Indian Ocean: he was born in Saint-Pierre, Réunion and died in Port-Louis, Mauritius. Elected to the French Academy of Sciences in 1791, he is thought to have been the first person of African descent to be so honoured. His father was a French engineer employed by the Compagnie des Indes, and his mother a Senegalese woman called Niama who had been traded as a slave. Provenance: Louis-Henri de Freycinet Governor of Reunion, 15 February 1821-14 October 1826. A few unobtrusive age marks on lower edge otherwise in excellent condition.
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Sir Joseph Banks wearing his Orders.

BANKS] Grevedon, Pierre Louis (1776-1860) A large lithograph; paper size 55 x 35 cms. Lithograph portrait of Sir Joseph Banks by Pierre Louis Grevendon (also known as Henri Grevedon); lithographed by C. Motte. A fine head-and-shoulders portrait of Sir Joseph Banks, the powerful President of London's Royal Society for more than forty years from 1778 to 1820. Banks travelled on the voyage of the "Endeavour", commanded by James Cook. On the three-year trip, he and Daniel Solander collected hundreds of specimens of plants and animals of the South Seas "and for the rest of his life Banks was one of the sparkling stars of enlightenment London. It was he who endorsed New South Wales as a site for a penal settlement; he was a patron of Matthew Flinders and others; and he corresponded zestfully with all the early governors of New South Wales. From 1788 to about 1810, though Banks held no official post (there was no 'master plan' for the settlement of the Colony, nor Department to administer it) he was a continuous advocate for the colony and his role as effective head of Australian affairs was widely acknowledged" (NPG). This French lithograph was clearly inspired by the famous depiction of Banks by the English artist Sir Thomas Phillips. Pierre Louis Grevendon, artist and printmaker, exhibited from 1824-1859 in Paris at the Salon. His earlier life included working with Jean Baptiste Regnault at the Ecole des Beaux-Arts de Paris and travelling to Russia, Stockholm and England. This sensitive and skilled portrait is recorded in "Portraits of the Famous and Infamous" by Nan Kivell (page 20) and shows Banks wearing orders including the insignia of the Red Ribbon of the Order of the Bath which was awarded to him by his friend and fellow sheep enthusiast, King George III ('Farmer George') in 1795.
Terres Australes par P. Du Val Geographe Ordre. du Roy

Terres Australes par P. Du Val Geographe Ordre. du Roy

DU VAL, Pierre Engraved map, 422 x 585 mm, with outlines in original colour. A fine example of this rare early map of discoveries in New Holland and the Indian Ocean, in the first of several states issued. This is only the second printed map to have referenced the supposed discoveries of the mysterious French explorer Gonneville who was supposed to have chanced on the south land in 1504 when, en route to the Spice Islands, his ship was blown far off course while rounding the Cape of Good Hope and the French found themselves in a fertile, inhabited land. At the centre of the southern continent Du Val notes that "some [authorities] place here the Kingdoms of Psitac, Beach, Lucac, and Maletur", the names derived from Marco Polo that subsequent mapmakers tended to place on the southern continent. To the west and approximately below the Cape of Good Hope is the "Terre de Perroquets", a rough translation of early cartographers' "Regio Psittacorum" which name leads to the corruption "Psitac". It is here that Du Val notes that "in the year 1504 approached one named Gonneville who brought back Essonier, son of King Arosca." To the east, the coastline of the southern continent meanders north, heading towards the western and southern coasts of New Holland where, in the north, is Terre d'Arnems; to the west is Terre de Wit, just south of which is Terre d'Endracht, while towards the south-western corner are Terre d'Edels and Terre de Lewin, and off the west coast are the Houtman Abrolhos and to the north the Trial rocks. Interestingly the continent is labelled "Petite Jave", in another reference to Marco Polo who had identified Java Minor and Major; Java Minor was intended to signify Sumatra (Sumbawa) but an error in Polo's travels recorded it as 1300 miles south of Java Major, causing endless confusion for geographers with some, like Du Val, using the name Java Minor (Petite Jave) for New Holland. --- The various Dutch names derive as follows: Terre d'Arnems refers to the Dutch East India ship Arnhem, which sighted the area in 1623; Terre de Wit commemorates Gerrit Frederikszoon de Witt, captain of the Vianen, who sailed in 1628; Terre d'Endracht refers to the Endracht, the second recorded European ship to contact Australia in 1616. As to Gonneville, he returned to Normandy with Essonier, the prince of the land he had visited, who settled in Normandy and had a family. The Abbé Paulmier, who claimed to be Essonier's great grandson, publicised his story with a book, very rare today, that he published in 1664 lobbying to convert the citizens of the Southern Continent to Christianity. However there had been no prior mention of Gonneville's discoveries; it has been speculated that if the voyage did actually take place it may in fact have landed somewhere in Brazil. Nevertheless, Gonneville's south Indian Ocean discoveries were first incorporated into a map in 1661, Du Val's being the next to do so, according to Gonneville scholar Margaret Sankey. Until James Cook's second expedition in the late-eighteenth century, French efforts at South Seas discovery would continue to focus on the elusive Gonneville's Land. Pierre Du Val (1619-83) was born in Abbeville, France, the nephew of the well-known geographer and cartographer Nicolas Sanson (1600-1667). After moving to Paris with the encouragement of Louis XIV, he became géographe ordinaire du Roi in 1650. After his death in 1683, his business was carried on by his widow and daughters. His map shows small ships traversing the trade routes in both directions between Europe and the lucrative East Indies, India and Southeast Asia. These areas occupy the top third of the map while the remainder shows the vast southern Indian Ocean and the matching vastness of a huge Southern Continent stretching nearly 140°. This is an example of the first state of the map; later states appeared in 1679 and 1684. The National Library of Australia holds an example in a pair with a second sheet to the east, entitled Amerique Merdionale. It is also found as one of 4 sheets put together to form the world map Carte Universelle Du Monde Vulgairement Dite La Mappemonde. The paper very lightly toned; an excellent example with good original colour.
A volume combining "Zoology of New Holland"

A volume combining “Zoology of New Holland”, with “A Specimen of the Botany of New Holland. The figures by James Sowerby”, two original watercolours by F.P. Nodder, and an original letter from George Shaw to James Sowerby

SHAW, George Kearsley, James Edward SMITH, and Frederick Polydore NODDER Quarto, four works together: 1. The Shaw Zoology with ten engraved plates (of twelve, lacking v & vi), plate xi with a repaired tear; the plates beautifully handcoloured after James Sowerby; 2. The Smith Botany with nine finely handcoloured engraved plates (of sixteen, without plates i-vi and viii); text leaves for missing plates v & vi present, plate vii embothrium speciosissimum present without text leaf; lacking half-title, title, and preface; 3. F.P. Nodder's two original botanical watercolours of Banksia serrata, each signed "F.P.N '89", on Whatman paper corresponding to paper used in the Smith Botany, bound after the waratah plate in the Botany; 4. George Shaw manuscript letter to James Sowerby loosely enclosed, 2 pp, regarding drawing the opossum from a live specimen for inclusion in the Zoology (plate xi). The four items a contemporary assembly in a handsome binding of the period of half green morocco, marbled boards and title-label. Assembled in the 1790s, this remarkable volume contains a deliberate selection of the groundbreaking earliest scientific and artistic work on the natural history of New South Wales from its first European settlement, and connects six figures each of individual importance to that remarkable story: George Shaw, James Edward Smith, F.P. Nodder, James Sowerby, Thomas Wilson and Surgeon John White. The four separate components, all of considerable individual interest, must have been gathered together by someone in or close to the immediate circle of figures involved in the earliest publications of Australian natural history. 1. Shaw's Zoology and 2. Smith's Botany Shaw's Zoology and Smith's Botany rank separately among the rarest of Australian colour-plate books; there is an uncertain history surrounding their initially joint publication. Originally Shaw and Smith had combined forces to produce a work in two parts containing just four plates each, with the undated title-page Zoology and Botany of New Holland. Both those parts appeared in 1793, each consisting of two zoology plates and two botany plates. This combination issue was quickly abandoned in favour of two separate works, with Shaw producing the Zoology of New Holland in 1794, and Smith A Specimen of the Botany of New Holland in four parts between 1793 and 1795. Here, we have the Zoology all but complete, missing two plates, and the Botany with nine of the sixteen plates published, all but one of them being plates from the third and fourth of the four published parts (the extra plate here is the wonderful image of the waratah which, unlike the others, does not have its accompanying leaf of printed text), therefore dating from the later part of the publication period for the four parts of the Botany of 1793-1795. The Botany is also missing its title and preliminaries which in keeping with contemporary publication practices would be likely to have been the final piece of the completed publication to be set, providing a likely terminus ante quem for compilation of the volume. (Interestingly the dedication to Thomas Wilson as ultimately published is therefore not included). 3. Nodder watercolours The two fine watercolours signed "F.P.N." by Nodder and dated "'89" are images of Banksia serrata that were not included in Smith's Botany, but perhaps based on their inclusion in this volume may have been originally considered for it. However, they were engraved from Nodder originals for John White's Journal of a Voyage to New South Wales, published in 1790. The first watercolour, with the faint notation in graphite "Banksia serrata in fruit" and the second (untitled, but "Banksia serrata in bud") both show slight but clear differences to those published plates. Importantly both are dated 1789, the year preceding publication of White's Journal. John White, First Fleet surgeon, was of course a botanical enthusiast and an assiduous collector for his London correspondents, the chief of whom was Thomas Wilson, who assisted in the preparation and publication of White's Journal of a Voyage which specifically notes (pp 222-223) that 'Mr. White has sent imperfect specimens and seeds of four species of Banksia, which we have endeavoured to settle.'. Those four specimens were of Banksia serrata and Banksia conchifera, which were illustrated in five full page hand-coloured engravings in White's Journal. Banksia serrata in fruit and in bud were the only two of the five engravings to have been based on drawings by Nodder and unlike the other three have his signature at lower left; clearly Nodder's watercolours offered here are the original watercolours used in the preparation of White's Journal. Signed and dated 1789 these watercolours are therefore at the very forefront of the European recording of Australia's exotic flora. 4. Shaw's letter to Sowerby The manuscript letter from George Shaw to James Sowerby adds remarkable immediacy and insight into the working production of Shaw's Zoology. Shaw informs Sowerby that a live specimen of the "quadruped" for inclusion in the "ensuing No." is available at "Mr Wilson's", that is Thomas Wilson mentioned above. The manuscript gives a beautiful description of the "Opossum with the aspect of a squirrel" and polite suggestions for the rendering of the illustration, as well as its dietary requirements: "The quadruped intended for the ensuing No. of [?] New Holland Zoology is now at Mr. Wilson's & if Mr. S. will send a messenger for it he may have it at his own home for some days. to study its several attitudes, & to give as elegant a figure of it as possible. It is an Opossum with the aspect of a Squirrel & is a very beautiful animal. As soon as the drawing is made Dr. S.[haw] will be glad to see it. Mr. S. will take notice that the tail is strongly prehensile & may therefore be represented in such a manner as to shew that particular, unless it shd. be thought to interfere with the elegance of the plate. It is to be fed with bread & milk. It is nearly torpid by day, but very active
Observations on the anatomical structure of the Cassowary of New Holland (Casuarius novæ hollandiæ

Observations on the anatomical structure of the Cassowary of New Holland (Casuarius novæ hollandiæ, Cuv.)

KNOX, Robert (1791-1864) Offprint pamphlet, octavo, title-page, 9pp, with an engraved anatomical plate; original blue wrappers stab-sewn. Very rare. Although excerpted from the Edinburgh Philosophical Journal, this is a separately published and individually paginated offprint with a new title-page, with "Anatomical" in the drop-title misspelled (but correct in the Journal) and amended in ink by Knox. While Worldcat locates just a single copy of this genuinely separate issue, this example happens also to be of very special interest since it was the copy presented by Knox to Baron Cuvier, the great French naturalist, who was in fact responsible for the taxonomic name of the New Holland Cassowary, "Casuarius Novae Hollandiae, Cuv.". Knox has inscribed the title-page "To Monsieur The Baron Cuvier Perpetual Secretary to the Institute of France &c. &c &c With the Author's respects". In what is in fact a pair of papers published here Knox compares the New Holland Cassowary with the Indian Cassowary, finding substantial differences and particularly in the trachea, where a "large membranous bag", he speculates, may have enabled "the bird to swim, and so preserve life amidst the extensive marshes composing central New Holland, and to escape also from those sudden inundations to which Australasia is generally exposed". Really? "In differing so singularly and mysteriously from the analogous structure of birds [of other places]. it fully confirms the opinions of some naturalists, that the living productions of Australasia will, when properly examined, be found to present peculiarities altogether wonderful, and perhaps yet, for a long period, quite inexplicable" The wrappers frayed at spine but in good original state.
Cosmography in four books. Containing the Chorography and History of the whole World: and all the Principal Kingdoms

Cosmography in four books. Containing the Chorography and History of the whole World: and all the Principal Kingdoms, Provinces, Seas, and Isles thereof. [engraved title:] The 5th Edition, Corrected & Inlarged by the Author

HEYLYN, Peter Folio, printed title in red and black, with an additional engraved title and four folding maps; contemporary dark sprinkled calf. A famous geographical work by the seventeenth-century theologian and historian, here in one of the few editions that includes Heylyn's remarkable study of notions of the southern continent. His interesting, rare, and early discussion of the subject draws on the reasonable as well as the wildly imaginary in bringing together actual discoveries and utopian fiction, and aptly demonstrates an easy confusion between the two that characterised popular ideas of exotic geography during the period. This important section was not present in the earliest editions of this book, nor in all later versions, but is found here in this fifth edition of the work, with a separate title-page ("An Appendix to the Former Work, Endeavouring a Discovery of the unknown Parts of the World: especially of Terra Australis Incognita, or the Southern Continent"). This bizarre and surprisingly unnoticed text on the southern continent begins: 'And here we are upon a new and strange Adventure, which no Knight Errant ever undertook before.'. Heylyn continues by discussing "Terra Australis Incognita", which he deduces (on the counterpoise theory) to be as large as Europe, Asia, and Africa, and its potential: 'The country being so large, so free from the Incumbrances of Frost and Ice, and endless Winters; I have oft marvelled with my self that no further hath been made in Discovery of it.'. He then discusses the voyages of Magellan, Le Maire, Hawkins, and Quiros, among others, with special sections devoted to Tierra del Fuego, the Solomon Islands and New Guinea. In a final, tongue-in-cheek section he concludes that all that is needed by the student of the southern continent is more information; so, rather than 'troubling the Vice-Royes of Peru, and Mexico, or taking out a Commission for a new Discovery' he examines instead the various utopias that have been written with the southern continent as a setting. He starts with Hall's Mundus Alter and deals with More, Bacon, and others. Heylyn is said to have written his Cosmography after a stranger had advised him that 'Geography is better than divinity'. First published in 1652 under this title, it is a huge, wide-ranging description of the known world illustrated with four good engraved maps (Europe, Africa, Asia and North America, the last showing California as an island). Neat repair to foot of one map.
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Cook, the Discoverer

FORSTER, Georg Quarto (248 x 212 mm), 276 pages, two illustrations, original half tan kangaroo leather. Limited edition of 1050 copies: this was the first English edition of one of the earliest and best biographies of Captain James Cook. This work includes a 106-page exact facsimile of the rare original German printing of 1787, followed by a newly-commissioned 116-page English translation. This de luxe issue was limited to just fifty copies, but this is copy number 1 of ten copies "hors-série" reserved for presentation. Although the relationship between the Forsters and the British establishment soured on their return in 1775, Georg continued to show the utmost admiration for his former captain's resolve and skill as an explorer. Over the following decade he published many books on voyages and the Pacific, and was already considered an expert when he was commissioned by the Berlin publishers Haude & Spener to translate the official third voyage account into German, to be accompanied by a new introduction and memoir of Cook. Richly detailed, the essay combines personal memoir with a carefully argued appraisal of Cook's unique contribution to scientific discovery on all three voyages: Forster always believed that the essay finally did justice to the memory of the great discoverer, drawing from his personal experience of sailing on the great second voyage. With an introductory essay by Dr Nigel Erskine, former Curator of Discovery at the Australian National Maritime Museum.
Femme Sauvage de l'île Van Diemen (Détroit de D'Entrecasteaux)

Femme Sauvage de l’île Van Diemen (Détroit de D’Entrecasteaux)

PETIT, Nicolas-Martin (1777-1804, French) Ink, watercolour and gouache on lightly tinted blue paper, 205 x 200 mm (image, within a ruled border) on a sheet measuring 235 x 212 mm; signed lower left: "N.m. Petit", inscribed with title below image and with further inscription in image upper right: "Terre de Diémen" This striking and important Australian painting is one of the earliest known works depicting any Aboriginal woman made by a Western artist. Confidently signed by Petit, the superb work depicts a seated Tasmanian woman in three-quarter profile, her legs crossed in the way noted by many of the French diarists, her hair cropped short and with a kangaroo skin cloak loosely draped over her right shoulder, her left breast exposed. The woman has been depicted without any scarification or ornamentation of any kind and looks directly towards the viewer with an air of self-assurance. Unusually for Petit, the scene includes an evocative background display of local foliage, dominated by subtle brown and blue-green tones which show how adept the artist was at capturing the vagaries of Australian light. There is no question that Petit's sensitive portraits of Australian Aboriginal men and women made on the Baudin voyage are his greatest achievement, having an "immediacy and directness unlike any previous images of them" (Martin Terry in the Dictionary of Australian Artists). Petit and the Baudin voyage Nicolas-Martin Petit (1777-1804), born into a family of fan-makers, had precocious talent which led to him training with the great neo-classicist painter Louis David, and his obvious ability meant that he quickly established himself as a well-respected member of the Baudin expedition. The two ships first arrived in the waters of south-east Tasmania in January 1802, Baudin and his officers being perfectly aware that the close investigation of the region, following on from the substantive visits of their countrymen Marion du Fresne in 1772 and d'Entrecasteaux in 1792/1793, had tremendous geopolitical significance, as this was the one Australian region that had been particularly studied by French voyagers (not forgetting the visits of explorers such as Tasman, Furneaux, Cook and Bligh, to name some of the more important). It was also the first place that Baudin and his men were able to have any extended interviews with any Australians, given that the Frenchmen had been almost completely avoided during their earlier forays ashore on the western coast of the continent in the second half of 1801. This period was, that is, Petit's first immersion in his study of the Aboriginal people, one of the central tasks of the Baudin expedition, and the work for which is he is chiefly remembered. Little is known about Petit's time on the voyage, although François Péron does mention him several times in the official account, describing how quickly and with what facility he was able to sketch, and noting that Petit had a charming habit of calming the nerves of his sitters with tricks and simple sleight of hand. Sadly, Petit died as the result of a seemingly insignificant accident soon after his return to Paris (the rigours of the voyage were held to be partly to blame for his rapid decline), which also had the sad consequence that many of his papers and notebooks were dispersed and lost. The loss to the study of early Aboriginal history is incalculable. Petit's Tasmanian subject Although the woman is not named (most of the Tasmanians were not in fact named by Petit, an oversight he appears to have regretted, given how careful he was to record most of his sitters in Sydney), this is one of the Petit portraits with an unusually precise caption in his hand, noting that it shows a woman of the "île Van Diemen" at the D'Entrecasteaux Strait, which is likely to mean that the precise locality of the scene was near the observatory the French established at North West Bay between 19 January and 5 February 1802, marking this out as a rare scene taken on the mainland itself. The French at the observatory, and particularly the officers in charge, Bernier and St. Cricq, made frequent comment on their friendly interactions with a large familial group, who were clearly intrigued by their visitors (see, for example, Bernier's letter to his commander, Journal of Post Captain Baudin, 4 February 1802). Aboriginal portraiture In terms of Aboriginal portraiture, the work of Petit is not only important because of the recognised fidelity and warmth of his paintings, but is also of historical consequence as he was one of only a select handful of early artists to make any such study. Indeed, it is a remarkable exercise to consider just how few original portraits of Aboriginal men and women in the earliest phase of the colonial era actually exist. The earliest known are some very simple sketches in ink done on the east coast during Cook's Endeavour voyage in 1770 by Sydney Parkinson (British Museum), followed by four more fully-realised portraits made on Cook's third voyage at Bruny Island in January 1777, by the Swiss artist John Webber, including one very well-known portrait of a woman with close-cropped hair holding her child (see Joppien & Smith 3.10 - 3.13). Webber's portrait of the woman and child was one of two Tasmanian portraits later engraved for the official account (1784). Even after the arrival of the First Fleet in 1788, most of the known works, and certainly the most artistically significant, were done by two main artists: the mysterious Port Jackson Painter, who contributed a striking group of studies and half-length portraits (Natural History Museum, London) and Thomas Watling, the convict artist better known for natural history and topographical works, but who made a number of thoughtful portraits of Aboriginal life (Natural History Museum, London). It is a startling thought that the visual history of early European contact with Aboriginal people is in fact dominated by published engravings, with all of the problems in distortion and transmission that implies. In
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An historical account of the colony of New South Wales and its dependent settlements; in illustration of twelve views, engraved by W. Preston, a Convict, from drawings taken on the spot, by Captain Wallis.

WALLIS, Major James Folio, with six double-page engraved views, and six single-page views, a map of Port Macquarie and part of the Hastings River (by John Oxley), a very good copy with the half-title and preliminary leaf containing extracts from the Sydney Gazette, endpapers renewed, retaining original bookplate; modern half morocco, top edge gilt. Rare: a beautiful copy of the first topographical view book engraved in Australia. This is an example of the more complete issue with the addition by the publisher of a preliminary leaf containing extracts from the Sydney Gazette in praise of Wallis's success as commandant of the Newcastle settlement. Wallis's famous book of views was the first great celebration of the progress of the colony under Governor Macquarie. This marvellous series of engravings of the colonial period was actually the first topographical view-book to consist entirely of plates engraved in the colony. Major James Wallis had arrived in the colony in 1814 and proved a very successful commandant at Newcastle, transforming the shabby convict outpost into an ordered town, as Macquarie had in Sydney. Newcastle was a place where convicts who committed further crimes in the colony were punished and Wallis had both the convict engraver, William Preston, and the convict artist, Joseph Lycett, as his prisoners. Wallis returned to England in 1819 and organised publication of his book, which includes a short history of the colony, by the reputable London firm of Ackermann, who would have seen a ready market for it with the growing popular interest in far-flung places and exotic scenery. The series of beautiful engravings provides an admirable visual summary of the appearance of the colony under Macquarie. The twelve plates in this book, engraved for Wallis in Newcastle by Preston, depict scenes in Sydney, Newcastle and the Hawkesbury River, as well as an Aboriginal corroboree and two plates of kangaroos and black swans. Bernard Smith's suggestion that it was Lycett and not Wallis who produced the original drawings has been disproved by the recent discovery of drawings by Wallis, who used a camera obscura. --- The views are as follows: 1. View of Hawkesbury and the Blue Mountains. 2. View of the Cove and Part of Sydney. 3. Sydney from the North Shore. 4. Sydney from Bennelong's Point. 5. Newcastle, Hunter's River. 6. Corroboree or dance of the Natives of N.S.W. 7. Black Swans. View of Reed's Mistake River N.S.W. 8. Kangaroos. 9. View of Hunter's River. 10. North and South Heads in Port Jackson. 11. Vaucluse Bay, Port Jackson. 12. View of Dawes Battery at the Entrance of Sydney Cove. 13. Map of Port Macquarie and the Newly Discovered River Hastings by J. Oxley. Provenance: with the bookplate of Flora, Marchioness of Hastings, Countess of Loudoun (1780-1840)
Views of Australian Scenery. Painted by Westall. Engraved by Byrne. Nine Very Fine Plates. Price Fifteen Shillings [label title]

Views of Australian Scenery. Painted by Westall. Engraved by Byrne. Nine Very Fine Plates. Price Fifteen Shillings [label title]

FLINDERS] WESTALL, William Oblong folio, nine engraved plates, without a title-page as issued; original white wrappers with titling label printed in gold on black gloss paper bound in, full red morocco by Sangorski, gilt. An attractive copy of the separate publication of views of Australia made by William Westall, the official artist on the Flinders voyage. These are the first records of Australian landscape to have been made by a Royal Academy artist. William Westall (1781-1850) was recommended by Benjamin West, president of the Royal Academy, for appointment as landscape artist to Matthew Flinders's voyage in the Investigator. Their circumnavigation of Australia from 1801 to 1803 was a momentous undertaking and the views prepared on the voyage constitute in most instances the earliest European depictions of parts of Australia. Westall completed about one hundred and forty sketches and watercolours during the voyage. In 1811 Matthew Flinders, in conference with Sir Joseph Banks and the artist, chose just nine of them to be worked up into oil paintings for the Admiralty. The selected views were also engraved by Byrne as illustrations for the official account, published in 1814. The views are: Kangaroo Island, Malay Road, Wreck-Reef Bank, Murray's Islands, King George's Sound, Port Jackson, Port Bowen, Gulf of Carpentaria, and Port Lincoln. There were two issues of this separate publication of the views: this one, which sold for fifteen shillings, and a larger paper issue which sold for one guinea.
The Travels of Marco Polo: A Venetian

The Travels of Marco Polo: A Venetian, in the Thirteenth Century: being a Description, by that early Traveller of Remarkable Places and Things in the Eastern Part of the World. Translated from the Italian, with Notes, by William Marsden

POLO, MARCO] MARSDEN, William (translator) Quarto, with a large folding map; an excellent copy in full calf, gilt. Important English edition of the work of Marco Polo, the most famous travel book every written and the first to open Central Asia and China to the West. This translation by Marsden was preceded as a separate edition only by the Frampton version of 1579, that early edition so rare that STC records only 3 copies held in the USA and 3 in England. Marco Polo (1254-1324), most celebrated of all early travellers, was the inspiration for all future explorers towards the east. His reports of his travels, factual and embroidered provided Europeans with not only their first account of China, but with a new standard in travelogue. His account was a unique compilation of hard fact, hearsay and legend covering history, politics and accounts of territories hitherto uncharted by the west. This superb translation of Marco Polo's travels by the respected scholar William Marsden brings to life one of the best known of all travel accounts and is particularly valuable for its copious notes, expert commentary and comprehensive index. --- Marco Polo's groundbreaking journey across the Silk Road notably includes his encounter with the much-feared Genghis Khan. "So extraordinary was that Empire, and so vivid Polo's recount of the many lands and diverse peoples, religions and cultures, apart from his cataloguing of governance and trade, that his Travels met with doubt and skepticism for centuries. Until today, that is, when 200 years of scholarly research and scrupulous revisions of the several principal texts have substantiated most of his revelations" (California Literary Review). Marco Polo had originally dictated the story of his travels to an acquaintance, Rusticiano, whilst he was being held prisoner in Genoa in 1299, following a naval defeat. His work was largely unknown in his lifetime, and first appeared in print in 1477 in Nuremberg, almost two hundred years after it was written. Subsequent editions of Polo's work were the source of various misprints and typographical errors, which were perpetuated for centuries, and which laid the foundation for speculation about the existence of a great continent to the south. The appearance of a promontory named "Beach" that appears on the earliest maps in the vicinity of northern Australia, stems from Polo's term "Locac", which may describe Thailand. In Ramusio's edition of Polo, the term became "Lochac", and in the Basle edition, the term was further corrupted to "Beach". This name was then used by late sixteenth-century and early seventeenth-century cartographers to describe the northernmost coastline of "Terra Australis". The translator, William Marsden, known too for his "History of Sumatra" joined the East India Company at Bencoolen as a writer in 1771, at the age of 17. He later became First Secretary to the Admiralty and Vice-President of the Royal Asiatic Society. He was a great collector of coins and books; his coins are now in the British Museum, his library at King's College. He based this English translation on the Italian edition of Zurla's version of Marco Polo's travels. Zurla, Cardinal Vicar of Rome was an influential writer on medieval geography. This edition is scarce. Provenance: With the bookplate of the English writer and antiquary Francis Frederick Fox (1833-1915) Joints repaired with the original gilt spine expertly laid down, the first few leaves and fold out map with light foxing otherwise very good.
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Through the First Antarctic Night 1898-99. A Narrative of the Voyage of the “Belgica” among Newly Discovered Lands, and Over an Unknown Sea about the South Pole

COOK, Dr. Frederick A. Octavo, with colour frontispiece and three other coloured plates, 74 plates, and 21 illustrations and maps in the text; original blue cloth, ship image in white on front cover. First UK edition, first issue (with the larger lettering at base of spine); published simultaneously with and today somewhat scarcer than the New York edition, which had a different cover design. Frederick Cook joined the Belgian Antarctic Expedition as surgeon and anthropologist, in which capacity he had served on the Peary Greenland expedition, though he and Peary fell out. The expedition was caught in the ice after crossing the Antarctic circle whereupon 'Cook soon proved the most invaluable of the scientists, devising an antiscorbutic diet and observing some of the curious physical and mental effects caused by the absence of sunlight. He devised a crude form of light therapy to treat what is now commonly known as seasonal affective disorder, alleviating the condition by placing the afflicted crew members before an open fire. the extraordinary services rendered by Frederick Cook, upon whom the survival of the expedition had depended, were fully acknowledged. He received the gold medal of the Royal Geographical Society of Belgium and a knighthood from the King' (Howgego). Cook was the first to publish, beating the accounts of Gerlache and Lecointe, the expedition leaders, into print. Provenance: Private collection (Australia)
Beautifully illustrated letter to his friend and colleague William Egley

Beautifully illustrated letter to his friend and colleague William Egley, written on board HMS Fly on the point of departure for the Australian survey

MELVILLE, Harden Sidney Four page letter on a single sheet folded to 230x190 mm, manuscript and drawings in ink, 1 1/2 pp. of letter text surrounded by pen-and-ink sketches, third page with a couple of small sketches, the fourth page an address panel with neatly torn wax seal and 1842 postal stamp. A beautiful letter written and drawn by the voyage artist Harden S. Melville at Falmouth, waiting for HMS Fly to weigh anchor for its voyage of discovery. Melville (1824-1894) joined the Fly in 1842, having been privately approached by the captain, Francis Price Blackwood, who invited him to become the ship's voyage artist. Melville spent the ensuing four years in Australia and New Guinea, making a particular study of the Great Barrier Reef and the Torres Strait. After his return to England he contributed the original drawings that were included in the only published account of the voyage, Joseph Beete Jukes's Narrative (1847), went on to effectively self-publish a particularly important and striking suite of additional lithographs from the voyage as Sketches in Australia (1849) and later published a charming memoir of his time on board, the Adventures of a Griffin (1867). The two vessels sketched at the head of the letter would be the Fly and Bramble as they prepared to sail; Melville also includes two fine sketches of his new companions, including an evocative depiction of some of his mess-mates (lower half of the second page) and another of a shooting expedition ashore (third page). His comic touch is nicely displayed by the dateline of the letter, which features a sketch of a housefly rather than the name of the ship. One of the finest artists ever to sail in Australian waters, at the time of writing the present letter Melville had not quite turned 18, but the ease with which he sketches and brings to life his first impressions of life on board belies his age, and is a reminder that his fellow voyager, the scientist Jukes, thought him a caricaturist to rival Dickens's illustrator George Cruikshank (Jukes, Narrative, vol. I, p. 187). --- The letter is addressed to William Egley (1798-1870), the accomplished and largely self-taught miniaturist, a regular exhibitor at the Royal Academy. The connection is significant because Egley, like Melville himself, had his roots in book engraving and illustration, having served an apprenticeship at the famous children's book publisher William Darton (ODNB). The letter also mentions Egley's only son, William Maw Egley (1826-1916), who also worked as an artist and was an almost exact contemporary of Melville's: that the two young men were well known to each other is proven by the only other known letter from the Melville/Egley correspondence, sent from Plymouth a few days earlier, now in the National Art Library of the Victoria & Albert Museum. Despite mention of the work he is doing and a brief mention of the "naturalist" (John Macgillivray) on board and his thoughts on Colonel Smith's remarks (presumably the scientist and military officer, Lt.-Col. Charles Hamilton Smith; precisely the sort of work that one would be studying before leaving for remote shores), Melville's whimsical missive is more a portfolio of sketches than a letter, and all the more important as a result. His significance to Australian art cannot be gainsaid, and yet very little of his original correspondence, notebooks or sketches survives, further underlining the importance of the present letter. A full transcript is available on request. TRANSCRIPT Dear Mr. Egley, I enclose you a copy of Remarks by Colonel H. Smith & I hope you will excuse my writing it so large as I have not an opportunity of copying it again at present. I therefore don't delay it, perhaps it is more distinct as it is. I thought you would like them they may be usefull to William [by context, William Maw Egley], our naturalist on board [Macgillivray] considers them very good remarks. You see I am sketching away as I go so I am afraid I shall not have room to say much. I shall be most happy to hear from you when abroad, letters will find me directed to Sidney [sic] as they are our head quarters. We expect a very enterprising trip & have a great deal of work to do. I often fancy my mess-mates & other officers abroad exploring they are quite prepared for it, pistols & guns & all kinds of sporting apparatus's and I think I shall have a multitude of subjects for my pencil. I must now shut up my menagerie [ie. finish the letter], wishing you good health & believe me Dear Mr. Egley, yours obliged & affectionately, HS Melville. W. Egley Esqre. 40 London [sic] Street Fitzroy Square London.
A History of the University of Oxford

A History of the University of Oxford, its Colleges, Halls and Public Buildings

ACKERMANN, Rudolph (publisher) and various authors including William COMBE and Frederick SHOBERL Two voumes, quarto; with engraved portrait of the Chancellor, Lord Grenville, 64 hand-coloured aquatint plates, and 17 coloured costume plates of university figures in their academic garb; contemporary half calf. First edition: a very good complete set of the classic and beautifully illustrated work on Oxford University, with 64 marvellous coloured aquatint depictions of Oxford colleges and scenery after original works by various artists including Augustus Charles Pugin, Frederick Nash, Frederick Mackenzie and William Westall (the last of these was of course the official artist on Matthew Flinders' voyage of the Investigator). Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher, and businessman. His various illustrated works (see also Rowlandson and Pugnin's Microcosm of England in this catalogue) present a pictorial tour of Georgian Britain in which architecture is humanised with figures of people going about their business. This is a good example of an earlier issue of the book and therefore better impressions of the aquatint plates. --- There are some complicated states and issues that affect this book: this is a regular example of an earlier issue, with only early (1812) watermarks appearing (plates VI, XXII, XL, LXVII, LXXIII, & LXXVI). Of the ten plates known to have specific states, eight are in the more regularly found second state except plates XXIV (Vol. II, p. 35) & LI (Vol. II, p. 201), which are in the first state. As Tooley notes, "Of the 40 or 50 copies I have examined, not one has contained all the. plates in the first state.". Most have a similar configuration to our copy. Of most note are the second corrected state of the first plate with the imprint now correctly referring to "Oxford" (rather than the embarrassingly mistaken "Cambridge" !); the list of plates is in the preferred first state; half-titles are present in both volumes. As an early copy this was issued before the publisher added the rather superfluous series of portraits of Founders, which was published as a separate work, and correctly those images do not appear in the List of Plates. Provenance: James Fairfax (from his library at Retford Park, Bowral NSW, with bookplate). In generally good condition; some mostly light offsetting from plates onto text, as is usual.
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Voyage autour du monde, entrepris par ordre du Roi. executé sur les corvettes de S.M. l’Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820. Navigation et Hydrographie.

FREYCINET, Louis Claude de Saulces de Two volumes quarto, text, and large folio atlas containing 22 engraved maps (10 of them double-page); atlas in contemporary Scandinavian quarter calf with decorated paper sides, the text volumes uncut and mostly unopened in old marbled boards, later black cloth spines and corners; military library crest gilt on all spines. The complete hydrographical section of Louis de Freycinet's extraordinary account of his voyage in the Uranie, with its two volumes of text accompanying the large and beautiful atlas of maps. This was an important component of the whole narrative of the voyage which ran to altogether twelve volumes published over two decades. This geographical section is complete in itself and the three volumes appeared together in 1826. The handsome atlas was the last of the four atlases of the 'grand voyage' account to be published. Freycinet was closely involved with every stage of its preparation and the title-page is a remarkable example of 1820s typographical experimentation. Each component of these 'grand voyage' publications could be purchased separately and indeed we often see the navigational or hydrographical atlases of these French voyages on their own as they had a practical navigational use which did not apply to the other volumes. The fine map of Shark Bay in western Australia that opens the atlas is specifically based on information not only from Freycinet's voyage but also from information gathered during the earlier visit of the Baudin voyage. This is followed by maps of Timor and New Guinea, the Caroline and Marianne Islands, and Guam. There are four fine maps of Hawaii: full-page maps of 'Kayakakoua' (=Kailua-Kona Bay), 'Kohaï-haï' (=Kawaihae), and Honolulu, and a half-page map of Lahaina. The two final very detailed maps are of the Falklands where the expedition spent an enforced stay of several months after the wreck of the Uranie. Of note too is the small map of "Ile Rose", the naming of which was one of very few acknowledgements of the clandestine presence of Rose de Freycinet, Louis' wife, on the voyage. Known today as Rose Atoll, and sometimes called Motu O Manu by people of the nearby Manu'a Islands, it is an uninhabited wildlife refuge in American Samoa, in fact the southernmost land belonging to the United States. Provenance: Danish Defence Library (Det Kongelige Garnisonsbibliotek); released with other duplicates to the Danish book trade after various separate military libraries were merged into one; with their neat stamps on title-pages and elsewhere and bolder stamps on front endpapers; their crest in gilt on spines.
Il Forestiere istruito delle Cose piu' rare di Architettura

Il Forestiere istruito delle Cose piu’ rare di Architettura, e di alcune Pitture della Città di Vicenza Dialogo di Ottavio Bertotti Scamozzi. Dedicato Al Nob. Sig. Marchese Mario Capra. Nella stamperia di Giovambattista Vendramini Mosca. Con Licenza de’ superiori

SCAMOZZI, Ottavio Bertotti Small quarto, engraved frontispiece portrait of the dedicatee, Mario Capra, title vignette, 36 fine etched and engraved plates by Cristoforo dall'Acqua after the author, (the majority folding); contemporary mottled calf, spine renewed. An architectural guide to Vicenza (arranged as a dialogue over a two-day visit) with fine engraved plates by Ottavio Bertotti Scamozzi (1719-1790), architect and doyen of the Palladian Revival in Italy. The proliferation of Palladian architecture in the late eighteenth and early nineteenth centuries was in no small part due to Scamozzi as a catalyst for builders and designers as well as architects. The influence was global -- the best examples of Palladio's colonial influence include Thomas Jefferson's Monticello in Virginia, and the numerous fine colonial Australian examples including Camden Park, Government House in Parramatta and Panshanger at Longford in Tasmania. Scamozzi is known mainly as the editor of Andrea Palladio's work, but his advice was also sought by cognoscenti on the Grand Tour, and this guide has the principal object of describing Palladio's buildings. Vicenza had been re-shaped by Andrea Palladio (1508-1580) and his pupil Vincenzo Scamozzi (1548-1616), and the beautiful engravings here bear witness to the Palladian elements of elegance in symmetry and design. The author was no relation to Palladio's pupil, Vincenzo, but was the recipient of a scholarship set up by him to enable poor Vicentine boys to study architecture. The sole condition was that the beneficiary take his name and coat of arms. Ottavio Bertotti-Scamozzi, a barber's son, more than kept this tradition alive. As an accurate record of Palladio's built works, Scamozzi's accomplishment was unparalleled: 'The quality of Scamozzi's work is remarkable, and it is not surprising to find that many of his plates have been used by leading authors on the work of Palladio, to illustrate their monographs' (Quentin Hughes, in his introduction to the 1968 London facsimile of Scamozzi's Le Fabbriche e i Disegni di Andrea Palladio).
Exotic Botany: consisting of coloured figures

Exotic Botany: consisting of coloured figures, and scientific descriptions of such new, beautiful, or rare plants as are worthy of cultivations in the Garden of Britain; with remarks on their qualities, history, and requisite modes of treatment.The figures by James Sowerby

SMITH, James Edward and James SOWERBY Two volumes in one, octavo, 120 engravings with fine original hand-colouring; many folding, contemporary calf with gilt Greek-key border to the sides, spine gilt-decorated with red title-label, well rebacked, edges fully-gilt. First edition: this beautiful botanical publication includes thirty-eight Australian species, the majority of which were not included in Smith's earlier Specimen of the Botany of New Holland (1793), and many of which are figured here for the first time. Like the earlier work, this is "of great importance to the botanist for the excellence of their figures and descriptions, and for the number of species not previously described in any published work" (Henrey II, p. 182). The drawings on which the engravings were based were made by James Sowerby from live specimens grown in England from seeds sent from Australia, or from drawings and specimens supplied from New South Wales by John White the First Fleet surgeon. Smith's notes on each plant often give a glimpse of the tremendous fascination with "Botany Bay" plants at the time. Specimens are derived, for instance, from the gardens of Lady Hume at Wormleybury, the greenhouse of the Dowager Lady de Clifford, or the grounds of the Marquis of Blandford. Several others have come from the famous exotic plant specialists in London, Lee & Kennedy. Throughout, Smith and Sowerby show themselves to be up-to-date regarding the latest botanical discoveries, and they are thorough in their attempts to clarify current designations by comparing specimens with those held in great collections such as that of Sir Joseph Banks. There are several discussions of plants noticed by Ventenat at Malmaison, including some polite disagreements, but they show their respect by naming a hitherto non-descript species as the "Ventenatia" (plate 66 & 67; long since shortened to "Ventenata"). Smith writes: "I am happy to dedicate so distinct and curious a New Holland genus to the honour of a botanist who has so much illustrated the plants of that country as M. Ventenat has done". Although not as well-known as the earlier Specimen, this is, in part, because of its scarcity. The book appears only in the Ferguson Addenda (noting copies in the Nan Kivell collection, NLA; the South Australian Royal Geographical Society; and the Turnbull Library in New Zealand). The last Australian plant noticed here is the Arethusa catenata, which includes a curious note. Smith writes that he has been sent the specimen by White, and goes on to say that he has also seen the drawing by Bauer, that is about to be illustrated "by the accurate pen of Mr. [Robert] Brown, now Clerk and Librarian to the Linnæan Society, and we will not anticipate his discoveries, nor execute imperfectly what he has so much better materials for completing. We shall therefore in general decline the publication of New Holland plants for the future, except we should want to elucidate any particular point to which we may have given peculiar attention, or any thing that may want explanation from the gardens." Bauer and Brown, of course, sailed with Flinders. Provenance: With an intriguing early pencilled inscription "A M Barnard from Lady Smith", perhaps a gift from Pleasance, Lady Smith, wife of the author (1773-1877) to her great niece Alicia Mildred Barnard (1825-1911) a plant illustrator and a member of the Botanical Society of London.
The Arthur Rackham Fairy Book

The Arthur Rackham Fairy Book, A Book of Old Favourites with New Illustrations

RACKHAM, Arthur Octavo, 8 full-colour plates and 60 line-drawings in the text, spine and cover with original gilt-work, top edge gilt, others uncut; original publisher's vellum over boards. Limited edition of 460 signed by the artist. A limited edition of 460 signed by Rackham. An inspired anthology drawn from "old favourites of the nursery.Most of them had a long and eventful life of oral tradition before somebody who could write caught them as they flew and consigned them to cold print" [Illustrator's Preface]. Classics by Hans Anderson such as "The Ugly Duckling" and "The Emperor's New Clothes" and Charles Perrault's "Cinderella" and "Puss in Boots" appear with tales from The Arabian Nights and the traditional English folk tale "Jack and the Beanstalk" and Washington Irving's American classic "Rip van Winkle". Published near the end of his remarkable career, Rackham with characteristic rich earth-tones illustrates a mythical fairy world in this beautifully published edition. He is mindful of belonging to an ancient tradition of story-telling and notes "in our own day, inspired story-tellers go on adding original characters to the stock--an Alice, a Peter Pan, and a Mr. Toad", forecasting a Golden Age of British book illustration. Scarce in this original limited edition. Provenance: James Fairfax (from his library at Retford Park, Bowral NSW, with bookplate).