Arader Galleries Auction- December 5th, 2012 by Daniel Brunt

THE HISTORIC MAPS, RARE BOOKS, NEW YORK- CENTRIC ART, AUCTION NATURAL HISTORY WATERCOLORS & COLOR PLATE BOOKS, AND AMERICAN AND EUROPEAN OIL PAINTINGS AUCTION: Wednesday, December 5th, 2012 Session I lots 1 - 138L: 1 pm Session II lots 139 - 282: 6pm PREVIEW: Friday, November 30th through Tuesday, December 4th, 2012 12 noon - 6pm each day LOCATION: The Arader Galleries 1016 Madison Avenue at 78th Street New York, NY 10075 ONLINE BIDDING: liveauctioneers.com ABSENTEE BIDDING: By telephone or written bid form in the catalogue. Please call 212.794.2280 to arrange CATALOGUE: An extensive 160 page book depicting and describing the many rarities being offered $30 postage paid in the United States $60 postage paid internationally To order the catalog or get more complete information please contact Guernsey’s CONTENTS: Audubon ....................................................................... Lots 1 - 82 Natural History ............................................................. Lots 83 - 138L Maps, Globes & Atlases ............................................... Lots 139 - 190 New York views and maps ............................................ Lots 191 - 250 America & European Oil Paintings ............................. Lots 251 - 282

GUERNSEY’S

108 East 73rd Street, New York, NY 10021 212.794.2280 w auctions@guernseys.com w www.guernseys.com

All Elephant Folio - No Reserve

Plate 350: Rocky Mountain Plover Estimate: $1,000 - 2,000 Guidance: Sold at Christie’s, June 25, 2004 for $2,390

Plate 283: Wandering Shearwater Estimate: $1,000 - 2,000

John James Audubon A Selection of Aquatints from “The Birds of America” , First edition engravings with original hand-color Published in London between 1827 and 1838 by Robert Havell Each plate approximately 39” x 26 1/2” with full margins; Approximate frame size for each: 49 1/2” x 37” Afternoon Sale, Lot 1 - Lot 82

Plate 73: Lapland Longspur Estimate: $1,000 - 2,000 Guidance: Sold at Christie’s, June 25, 2004 for $4,780

Plate 340: Least Stormy Petrel Estimate: $1,000 - 2,000 Guidance: Sold at Christie’s, June 25, 2004 for $2,390

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve 6

Plate 160: Black-capped Titmouse Estimate: $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $3,585

Plate 103: Canada Warbler Estimate: $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $5,975

Plate 170: Gray Tyrant Estimate: $1,000 - 2,000

Plate 110: Hooded Warbler Estimate: $1,000 - 2,000

Plate 4: Purple Finch Estimate: $1,000 - 2,000

Plate 49: Blue Green Warbler Estimate: $1,000 - 2,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate 164: Tawny Thrush Estimate: $1,000 2,000

Plate 25: Song Sparrow Estimate: $1,000 2,000

Plate 157: 14 Plate 195: Rusty Grackle Ruby Crowned Wren Estimate: Estimate: $1,000 - 2,000 $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $3,346 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $2,868 13

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate 263: Pigmy Curlew Estimate: $1,000 - 2,000

Plate 233: Sora or Rail Estimate: $3,000 - 4,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $2,868

Plate 108: Fox-colored Sparrow Estimate: $1,000 - 2,000

Plate 334: Black Bellied Plover Estimate: $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $2,629

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate 284: Purple Sandpiper Estimate: $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $2,390

Plate 296: Barnacle Goose Estimate: $2,000 - 3,000

Plate 85: Yellow Throated Warbler Estimate: $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $ 2,390

Plate 10: Brown Titlark Estimate: $500 - 600 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate 45: Trailâ&#x20AC;&#x2122;s Flycatcher Estimate: $1,000 - 2,000

Plate 19: Louisiana Water Thrush Estimate: $1,000 - 2,000

Plate 339: Little Auk Estimate: $1,000 - 2,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $2,390

Plate 99: Cow Bunting Estimate: $1,000 - 2,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate 189: Snow Bunting Estimate: $1,000 - 2,000 Guidance: Sold at Christie’s, June 25, 2004 for $2,868

28 Plate 280: Black Tern Estimate: $1,000 - 2,000 Guidance: Sold at Christie’s, June 25, 2004 for $2,390

Plate 294: Pectoral Sandpiper Estimate: $1,500 - 2,500 Guidance: Sold at Christie’s, June 25, 2004 for $3,585

Plate 368: Rock Grous Estimate: $4,000 - 7,000 Guidance: Sold at Christie’s, June 25, 2004 for $7,768

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate73: Wood Thrush Estimate: $2,000 - 3,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $4,780

Plate 115: Wood Peewee Estimate: $2,000 - 3,000

Plate 329: Yellow Breasted Rail Estimate: $1,000 - 2,000

Plate 209: Wilsonâ&#x20AC;&#x2122;s Plover Estimate: $1,500 - 2,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Elephant Folio When John James Audubon's subscribers to the Birds of America series received the first of many installations of five engravings, their gaze first encountered the striking, physically dominating, brightly colored American Wild Turkey, Male. It was like nothing they had ever seen, and they were enthralled. The Wild Turkey is widely considered the crowning achievement of Audubon's monumental Birds of America. The image has come to represent not just the series in its entirety, but to many, it symbolizes the spirit of American ingenuity and entrepreneurial instincts that fueled the project. Audubon was the first to undertake the unprecedented and ambitious task of attempting to document all bird species of the United States, andhis tireless efforts and remarkable talent culminated in the publication of his Birds of America (1827-1838). The appreciation and understanding of this work, and the enterprising, talented artist who created it, has grown steadily since the time of its undertaking, and is today, in the context of the nation's historical culture, an icon of Americana. 35

Plate 1: Wild American Cock William Lizars: Edinburgh, 1826 Handsomely framed Estimate: $125,000 - $175,000

Audubon had initially selected the Scottish printer William Lizars as his publisher. The Wild Turkey was the first plate to be engraved, and Audubon selected it carefully, as it would be the first image seen by his subscribers. In his journals he wrote of the extensive work he had put into the composition. The bird was distinct from any European species, and so ubiquitous that Benjamin Franklin had proposed it as the American national symbol, preferring it to the eagle. Not only is the symbolism of the Wild Turkey significant, but artistically, it is perhaps Audubon's masterpiece. The gigantic bird appears barely to fit within the confines of the two dimensional page, assuming a life and vitality that impels it into the viewer's space. Lizars's masterful use of copper plate engraving adds an especially detailed and precise aspect to the image, enhancing an appearance of three dimensionality. The first plate to be engraved for Audubon's magnificent Birds of America, more care was lavished in its production than possibly any other illustration. This quintessential American bird, by a cornerstone American artist, represents an excellent collector of Americana. This particular example is even more remarkable because it is one of only roughly ten that was printed by Lizars himself. After the project was taken over by Robert Havell, 250 more examples of the Wild Turkey were printed that retained Lizars's name on the plate. However, the images pulled by the Scottish printer are, naturally, among the most desirable, and the most rare.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio

Plate 261: Hooping Crane, Young [Sandhill Crane] Handsomely framed Estimate: $40,000 - $50,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $65,725

Plate 92: The Merlin [Pigeon Hawk] Handsomely framed Estimate: $8,000 - 10,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $7,170

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

Plate 247: Velvet Duck Handsomely framed Estimate: $3,000 - 4,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $5,975

Plate 232 : Hooded Merganser Handsomely framed Estimate: $7,000 - 9,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $10,158

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio

40 Plate 206: Summer, or Wood Duck Handsomely framed Estimate: $75,000 - 90,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $45,410

41 Plate 116: Brown Thrasher or [Ferruginous Thrush] Handsomely framed Estimate: $11,000 - 12,000 Guidance: Sold at Guernseyâ&#x20AC;&#x2122;s, 2012 for $13,420

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color

All Elephant Folio

Plate 271: Frigate Pelican (Magnificent Frigatebird) Estimate: $12,000 - 15,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $15,535

Plate 131: The American Robin Handsomely framed Estimate: $30,000 - $40,000

Plate 31: White Headed Eagle Handsomely framed Estimate: $7,000 - 10,000 No Reserve

Plate 153: Yellow Crown Warbler Handsomely framed Estimate: $2,000 - 3,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio

Plate 343: Ruddy Duck Handsomely framed Estimate: $5,000 - 7,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $8,365 No Reserve

Plate 62: 48 Passenger Pigeon Estimate: $20,000 - 25,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $28,680

Black- Bellied darter proof plate Handsomely framed Estimate: $30,000 - 35,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

49 Plate 361: Long- tailed or Dusky Grous Estimate: $3,000 - 4,000 Guidance: Sold at Christie’s, June 25, 2004 for $5,736

50 Plate 429: Western Duck Estimate: $3,000 - 4,500 Guidance: Sold at Christie’s, June 25, 2004 for $5,975

51 Plate 409: Havell’s Tern Estimate: $7,000 - 8,000 Guidance: Sold at Christie’s, June 25, 2004 for $8,963

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio - No Reserve

52 Plate 383: Long eared owl Estimate: $3,000 - 4,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $4,780

53 Plate 241: Black-backed Gull Estimate: $3,000 - 4,000

Plate 249: Tufted Auk Estimate: $3,000 - 4,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $4,780

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio

55 Plate 382: Sharp Tailed Grous Estimate: $5,000 - 6,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $7,170 No Reserve

56 Plate 371: Cock of the Plains (Sage Grouse) Estimate: $10,000 - 12,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $22,705 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

All Elephant Folio

57 Plate 342: Golden-Eye Duck Estimate: $20,000 - 25,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $26,290

58 Plate 431: American Flamingo Estimate: $100,000 - 120,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $197,900

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Plate 26: The Carolina Parrot Estimate: $80,000 - 110,000 Guidance: Sold at Christieâ&#x20AC;&#x2122;s, June 25, 2004 for $119,500

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Audubon’s Viviparous Quadrupeds of North America - A Selection of Lithographs with original hand-color Imperial Folio; Published in Philadelphia between 1839 and 1844 by J.T. Bowe Originally issued in 30 parts, 5 plates per part, in collaboration with his sons, Victor Gifford and John Woodhouse Audubon; each plate approximately 27 ¾" x 21 ½" with full margins

Plate 56: American Bison (Male) Estimate: $25,000- 30,000 Guidance: Sold at Sotheby’s, 2011 for $21,250

Plate 81: Common American Deer (Fawn) Estimate: $10,000- 12,000 Guidance: Sold at Christie’s, 2011 for $5,625

Plate 68: Fox Squirrel Estimate: $8,000- 12,000 No Reserve

Plate 141: American Black Bear Estimate: $10,000- 15,000 Guidance: Sold at Guernsey’s, 2012 for $11,590

Plate 16: Canada Lynx Estimate: $16,000- 20,000 Guidance: Sold at Guernsey’s 2011 for $26,840

Plate 91: Polar Bear Estimate: $12,000- 18,000 Guidance: Sold at Christie’s, 2001 for $6,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Plate 31: Collared Peccary Estimate: $7,000- 9,000 No Reserve

Plate 66: Virginian Opossum Estimate: $6,000- 8,000 No Reserve Guidance: Sold at Christie’s, 2011 for $2,000

Plate 82: Red Texan Wolf Estimate: $6,000- 8,000 No Reserve Guidance: Sold at Sotheby’s, 2005 for $9,375

Plate 33: Mink Estimate: $4,000- 5,000 No Reserve

71 Plate 42: Common American Skunk Estimate: $4,000- 5,000 No Reserve

70 Plate 63: Black-tailed Hare Estimate: $6,000- 8,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Plate 11: Northern Hare (Summer) Estimate: $4,000- 5,000. No Reserve

Plate49: Douglass’s Spermophile Estimate: $500- 1,000. No Reserve

Plate 92: Texan Lynx Estimate: $1,000- 2,000. No Reserve

Plate 106: Columbian Black Tailed Deer Estimate: $3,000- 4,000. No Reserve

Plate 53: Texan Skunk Estimate: $3,000- 4,000. No Reserve

Plate 38: Red-bellied Squirrel Estimate: $1,000- 2,000. No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Plate 21 Grey Fox Estimate: $15,000 - 20,000 Guidance: Sold at Sotheby’s, 2007 for $18,000

Plate 101 Jaguar Estimate: $12,000 - 16,000 Guidance: Sold at Sotheby’s, 2008 for $13,750

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

A Rare First Edition of Audubonâ&#x20AC;&#x2122;s Octavo Quadrupeds in the original parts

The Quadrupeds of North America New York: V.G. Audubon, 1849-1851-1854 Estimate: $25,000 - 30,000 Guidance: Sold at Christie's New York, Dec 3, 2010, lot 283 for $55,000 31 parts (10 4/8 x 7 2/8 inches). 155 fine handcolored lithographed plates by W. E. Hitchcock and R. Trembly after J.J. and J. W. Audubon (pale waterstain affecting a few plates, occasional spotting and soiling of text and plates, some offsetting to text, a few minor tears to text and plates). Original tan printed paper wrappers (most sewing removed, some backstrips perished or defective, some wrappers detached and frayed, some soiling and spotting); modern blue cloth slipcases and uniform chemises. First octavo edition, RARE IN ORIGINAL PARTS. The first 30 parts of the edition contain 150 plates from the 1845-1848 folio edition of "The Viviparous Quadrupeds of North America", with the final number reproducing five of six octavo plates from the 1854 supplement. Audubon's enthusiasm at the start of the project was unbridled. Around 1840 he wrote to his collaborator, the Rev. James Bachman, "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed!

Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman" (Streshinsky, Audubon, p. 331). The artist managed to complete seventy-seven drawings before failing health kept him from his work. The remainder were completed by John Woodhouse Audubon. The dauntingly massive enterprise was a commercial success, owing chiefly to Victor's careful management. Before Audubon's death in 1851, his sons succeeded in soliciting some three hundred subscriptions for the work. Bennett 5; Nissen ZBI 163. Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Viviparous Quadrupeds of North America New York: J.J. Audubon - [V.G. Audubon], 1845-1848., 1848. 3 volumes, Imperial folio (27 x 21 4/8 inches). 150 hand-colored lithographs. Contemporary American DELUXE BINDING of full maroon morocco gilt, all edges gilt (recently and expertly rebacked to style, rubbed). Estimate: $600,000 - 700,000 Guidance: Christie's March 10, 2000. Lot 38 $464,500

First edition. In the 1830s, as the final plates were being completed for John James Audubon's monumental "Birds of America" series, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive and sweeping as that he used for his birds. The result of the artist/naturalist's years of field research, travel, and seemingly endless study was the "Viviparous Quadrupeds of North America", the outstanding work on American animals produced in the 19th-century. The artist's enthusiasm for "The Quadrupeds" was unbounded. In 1840, Audubon wrote to his friend and collaborator John Bachman, "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come. Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." Despite his newly acquired wealth and celebrity, Audubon insisted on executing many of the preparatory drawings and watercolors personally, enlisting a select few to help. The contributors to the project included Bachman, a Lutheran minister who had been the artist's closest friend and supporter for many years, who wrote all of the descriptions and acted as a scientific editor for the work. Audubon's two sons, John Woodhouse and Victor, also took critical roles. With his sons, Audubon traveled through the Eastern woodlands, and through Missouri to the Rocky Mountains.

Together they collected and drew specimens along the Mississippi, as well as in coastal regions of Florida and the East Coast. As Audubon's health and eyesight began to fail, the help of John Woodhouse and Victor became increasingly crucial to "The Quadrupeds", now a family project. Audubon managed to complete seventy seven drawings before failing health kept him from his work. Before he died in 1851, Audubon's sons managed to solicit some three hundred subscriptions for "The Quadrupeds". Together, the three men, along with John Bachman, produced an unequaled record of American wildlife, matching the great combination of art and science attained in the "Birds of America". Like that series, "The Quadrupeds" are wonderfully animated, superbly rendered, and beautifully printed in large format. AN EXCEPTIONALLY BRIGHT AND FINE COPY.

Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

81 continued

A Page From the Viviparous Quadrupeds of North America Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

The Rare First Edition of Audubon’s Octavo “Birds of America” Also Considered the First American Edition John James Audubon Birds of America, From Drawings Made in the United States and Their Territories First Octavo Edition. New York and Philadelphia: J. J. Audubon and J. B. Chevalier, 1839-44. Bound in 7 volumes, 8vo in 4's. 500 handcolored lithographed plates after Audubon By W.E. Hitchcock, R. Trembly, and others Printed and colored by J.T. Bowen Numerous wood-engraved anatomical figures in text. Contemporary American Delux Binding of Full Red Morocco Gilt Estimate: $50,000 - 75,000 Guidance: Sold at Christie's Dec. 15, 2005 Lot 597 for $132,000

A tireless entrepreneur, John James Audubon devoted himself to an unprecedented project, becoming the first to attempt the seemingly insurmountable task of documenting all the bird life of North America. This task grew out of a genuine and passionate interest in his subjects, and Audubon determined not only to complete a project that no one else had undertaken, but to approach it in an entirely innovative manner. His style and his persona were much like the notion of America itself: ambitious, animated, larger than life. The artist's tireless efforts and remarkable talent culminated in the publication in London of his 435-plate Birds of America (1827-1838), undoubtedly the greatest work on birds ever produced. The celebration of this quintessentially American work, and the enterprising, talented artist who created it, has grown steadily since the time of its publication.. Even before the double elephant folio edition had been completed, Audubon was planning this, the octavo edition, in order to make his magnificent Birds of America available to a wider spectrum of people. In the introduction to the first part of his reduced format edition, Audubon wrote that he had "been frequently asked, for several years past, by numerous friends of science, both in America and Europe, to present to them and to the public a work on the Ornithology of our country, similar to my large work, but of such dimensions, and at such price, as would enable every student or lover of nature to place it in his Library."

All of the birds from Audubon's original folio aquatints were reduced by camera lucida for lithography by the artist's son John Woodhouse, and new species were added. The octavo edition was expanded to 500 plates, and included the text of Audubon's "Ornithological Biography.” Because it incorporates Audubon's text and several new plates, this edition is also considered the first complete edition of Audubon's Birds of America, as well as the first American edition. It was beautifully printed and colored by John Bowen of Philadelphia, one of the finest American lithographers of his day, and issued in 100 serial parts over a five-year span. Audubon's "little work," as he called it, was a great success, attracting nearly 1,200 subscribers and becoming the format through which Audubon's ornithology was most widely disseminated in the nineteenth century. The quality of the plates in this particular copy is magnificent, as is the gilt morocco binding, making this set particularly desirable. Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Natural History Watercolors & Colorplate Books Afternoon Sale Lot 83 - 138L

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

83 Pieter Holsteyn the Younger (1614-1687) A fine tulip study from Munart Atocatâ&#x20AC;&#x2122;s Tulip Book Gouache on paper with gum arabic Paper size approximately: 14 5/8 inches x 10 1/8 inches Handsomely framed Estimate: $15,000 - 20,000

85 84

Pieter Holsteyn the Younger (16141687) A fine tulip study from Munart Atocatâ&#x20AC;&#x2122;s Tulip Book Gouache on paper with gum arabic Paper size approximately: 14 5/8 inches x 10 1/8 inches Handsomely framed Estimate: $15,000 - 20,000

Tulip Study Watercolor on paper 4 1/2 x 10 inches Handsomely framed Estimate: $6,000 - 8,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Johann-Samuel Arnhold (1766-1828) Still life of Pink Roses, Irises and White Carnations Paper size: 9 1/4 x 7 1/2 inche; Handsomely framed Signed lower right: Arnhold Estimate: $5,000 - 7,000

Johann-Samuel Arnhold (1766-1828) Still life of Yellow, Orange and Pink Carnations Paper size: 10 x 7 5/8 inches; Handsomely framed Estimate: $4,000 - 6,000

Unidenfitied Artist Mixed Bouquet 12 x 15 1/2 inches Watercolor on paper Handsomely framed Estimate: $3,000 - 4,000 No Reserve

Jean-Franรงois van Dael (Antwerp 1764-1840 Paris) Floral Still Life with roses, passion flower, impatiens, bellflower, snapdragon, grapes and butterflies Watercolor on paper 13 x 16 inche; Handsomely framed Signed lower right: Vandael 1807 Estimate: $1,000 - 2,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

91 Herman Henstenburgh (1667-1726) Blue Liseron flowers, lush greenery, butterfly and other flowers on a tabletop Gouache on vellum with painted frame lines in brown ink done with a feather pen Vellum size: 11 1/2 x 14 inches Handsomely framed Estimate: $7,000 - 10,000 No Reserve

Herman Henstenburgh (1667-1726) Grapes, peaches, cherries and insects on a tabletop Gouache on vellum with painted frame lines in brown ink done with a feather pen Vellum size: 11 1/2 x 14 inches Handsomely framed Estimate: $7,000 - 10,000 No Reserve 90

92 Herman Henstenburgh (1667-1726) Bouquet Watercolor and gouache on vellum 11 x 14 inches; Handsomely framed Signed and dated lower right: H. Henstenburgh fecitâ&#x20AC;Ś 1700 Estimate: $30,000 - 35,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

93 Herman Henstenburgh (1667-1726) Still-life with a monkey and a basket of flowers on a stone ledge Watercolor and gouache within black framing lines, on vellum Paper size: 16 1/2 x 12 3/4 inches Framed: 25 1/2 x 21 7/8 inches Signed l. r.: H. Henstenburgh. fec= Provenance: Pieter van den Brande and/or Johan Pieter van den Brande, Middelburg; by descent to E. C. Baron van Pallandt; sold by him, Amsterdam, Mak van Waay, 26 September 1972, lot 336; private collection Estimate: $150,000 - 175,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Federico Cesi (Rome 1585-1630 Acquasparta) Mint Branch, Balsamita Major Numbered â&#x20AC;&#x2DC;323â&#x20AC;&#x2122; and annotated by F. Cesi Black stone, watercolor enhanced with white, with framing lines in brown ink done with a feather pen A composition in the style of George III Site size: 11 1/2 x 16 inches; Handsomely framed Estimate: $7,000 - 10,000 No Reserve

George Dionysius Ehret (1708-1770) A Passion Flower Vellum size: 16 1/2 x 12 1/4 inches Frame size: 22 x 26 1/2 inches Black chalk, watercolor and bodycolor on vellum Signed and inscribed: G.D. Ehret. pinxt Maracock, or Passion Flower Estmimate: $9,000 - 12,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Estimate: $7,000 - 10,000

Louis Choris (1795-1828) Palms, c. 1818 Original watercolors for one of two publications: Voyage Pittoresque Autour du Monde… (Paris, 1822) Vues et Paysages des Regions Equinoxiales... (Paris, 1826) Pen and ink, pencil and watercolor on paper Paper size: 9” x 7 1/8”; Handsomely framed; Annotations in pen and ink

Estimate: $7,000 - 10,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

99 Carl Friedrich Philipp von Martius (1794-1868) and Johann Moritz Rugendas (1802-1858) A Brazilian landscape with Indians encamped under palms by a river, a snake and crocodile in the foreground Pencil, ink and watercolor on paper Paper size: 18 1/2” x 14 1/2”;Handsomely framed Inscribed along lower margin: Manicaria Saccifera/ Desmoncus orthacanthos Tab:98 Literature: C. F. P. von Martius, Historia Naturalis Palmarum, II (De Brasiliae Palmis Singulatim) (Leipzig, 1823-1850), pp.87, 140-141, pl.98 (‘Manicaria Saccifera/Desmoncus orthacanthos’). Estimate: $100,000 - 150,000 This remarkable watercolor is a study for plate 98, volume two of Martius’s exhaustive work, Historia Naturalis Palmarum. The plate credits the lithographer (‘C. Hess in lap. del’) working from the author’s model (‘Martius palm ad nat.’). The snake and crocodile are omitted in the plate. If Martius provided the original sketches of the two palms (as credited in the plate), the present watercolor may nevertheless have been worked up by Johann Rugendas for publication. Martius’s Historia Naturalis Palmarum was based on his travels in Brazil with Johann Baptist von Spix from 1818 to 1820, but expanded, in a third volume (Expositio Systematica), to include all species then known worldwide. The majority of drawings of palms for the second volume, dedicated to Brazilian palms, were credited to Martius with just a few landscapes, representing areas not travelled over by Martius, taken from works by Frans Post and Johann Moritz Rugendas. As with the present watercolor, it is probable that Rugendas worked up many of Martius’s sketches for publication. King Maximilian Joseph of Bavaria sent Martius, a botanist, with Spix, a zoologist, to Brazil in 1817 in the suite of the Archduchess Leopoldina. They were under instructions to investigate natural history and tribal indians and travelled extensively, beginning in Rio de Janeiro and Sao Paulo before making their way north, inland to Montes Claros and the Upper Sao Francisco, across to Salvador de Bahia and then northwest to Para. They became the first non-Portuguese Europeans to obtain permission to visit the Brazilian Amazon, starting upstream in August 1819. They split up in December, Martius ascending the Japura for two months reaching territory close to the frontier with modern day Colombia, before reuniting at Barra (Manaus) in March 1820 and returning to Belem. From there they sailed for Europe with a vast collection of natural history specimens and Indian artefacts. The journey was the subject of their co-authored Reise in Brasilien, published in three volumes with an atlas (Munich, 1823-1832) and spawned Martius’s two monumental works on natural history, Historia Naturalis Palmarum and the mammoth Flora Brasiliensis, the latter published between 1840 and 1906, with just one third published by the time of Martius’s death in 1868.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Mrs. William Moore, 18th century Study of a Mango 17 1/2 x 11 inches; Handsomely framed Pencil and watercolor with gum arabic on card Signed and inscribed lower left: Mangue Edmond/ peinte d’apres nature/ par Mme Wm Moore Inscribed lower right: Mangue Edmond Estimate: $3,000 - 4,000

100

101

Pierre-Joseph Redouté (1759-1840) Still Life with Peaches Watercolor on vellum Vellum size: 8 1/4 x 11 inches; Handsomely framed Signed lower left: P J Redouté Estimate: $10,000 - 15,000

102

Pancrace Bessa (1772-1846) Peaches Watercolor and gum arabic over pencil heightened with touches of gold on the fly’s eyes, On vellum 8 5/8 x 10 3/8 inches Estimate: $25,000 - 30,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

103 Jean Louis Prevost Still-life with a bouquet of flowers and a bird's nest with eggs. Oil on canvas, 12" x 15 1/2". Signed and dated in lower left, "J. L. Prevost 1795." Estimate: $100,000 - 150,000 Jean Louis Prevost was a successful and widely renowned flower painter, respected both for his watercolor and oil paintings and for his engraved works. His paintings were consistently exhibited in the Paris Salon, and his original watercolors served as models for a series of exquisite color plate botanical books. His "Collection des Fleurs et des Fruits" is one of the greatest French flower books of the early 19th century. Unlike Redoute, his great contemporary, Prevost's intention with his works was not primarily scientific. His great "Collection..." was intended as a reference work for china and fabric pattern designers. Prevost here demonstrates his mastery of the traditional still-life genre. The strong composition indicates his aesthetic concerns, while the delicate, detailed and higly accurate depiction of each flower also exemplifies the artist's exceptional rendering skill. For though not primarily a botanist, all of Prevost's works were based on careful observation of specimens. This lively and accomplished work presents Prevost's mastery both of decorative design and descriptive rigor. It is a unique and affecting piece by an artist who occupies an unusual place in the history of botanical art.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

104

105

Raoul Maucherat de LongprĂŠ (1843-1911) Bouquet of Pink Roses and White Lilacs Paper size: 26 3/4 x 20 inches ; Handsomely framed Watercolor and gouache on paper Signed lower right of center Estimate: $8,000 - 10,000 No Reserve

Raoul Maucherat de LongprĂŠ (1843-1911) Bouquet with Roses and Lilacs 14 1/4 x 10 1/4 inches Handsomely framed Watercolor and gouache on paper Signed lower right of center Estimate: $7,000 - 8,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Attributed to Nicolas Robert (1614-1685) Untitled: White and Pink Chrysanthemum with a Butterfly Vellum size: 9 x 6 5/8 inches Handsomely framed Pencil, watercolor and body color on prepared vellum Estimate: $10,000 - 15,000

107

106

J. L. MacFarlane (19th century) Irises 11 x 20 inches Watercolor on paper Estimate: $6,000 - 8,000 No Reserve Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

108

Nicolas Robert (1614-1685) Flamingo Watercolor on vellum with gold fillets 14 1/2 x 10 5/8 inches Framed: 20 1/2 x 24 3/4 inches Estimate: $120,000 - 150,000 Guidance: Sold at Blanchet, Paris on March 17, 2010 for $152,334 Nicolas Robert was one of the greatest natural history artists of the 17th century, and his work established standards combining scientific accuracy and esthetic appeal that influenced generations of artists and won the respect and patronage of the French royal family. Robert created a vast, exquisite body of work for the French Crown. Along with other artists, Robert was commissioned by Gaston d'Orleans, brother of Louis XIII, to create watercolors of the rare plants and exotic birds he had assembled in his garden at Blois and the MĂŠnagerie at Versailles. Robert's talent was recognized quickly as being superior to that of other artists working for the royal family, and after Gaston d'Orleans's death, he was quickly placed under the patronage of the Sun King, Louis XIV. As a reward for the stunning works he painted for the king's personal collection, Robert was named "Peintre Ordinaire du Roi" in 1666, a title that confirmed his continuing fame and patronage. Robert was the first significant contributor to a collection of fine watercolors on vellum that became known, collectively, as the Velins du Roi (the King's Vellums). The watercolors Robert completed under Gaston d'Orleans and then Louis XIV for the royal collection fed the interest and provided the inspiration for the great masters of botanical and ornithological art who followed: Jean Joubert, Nicholas Marechal, Gerard van Spaendonck and, of course, Pierre-Joseph RedoutĂŠ. Thus the extremely fine print work of Parisian natural historians and flower painters as late as 1825 can be traced directly back to the strength of Robert's tradition. Probably executed for noble patrons, these stunning ornithological watercolors date from around the time of Robert's period in the court of Louis XIV. The birds are defined with subtle modulations of delicate hues, and the simple yet monumental compositions combine flawless artistry with Robert's characteristic attention to scientific precision. The vast majority of Robert's watercolors are housed in public institutions, including the Musee d'Histoire Naturelle in Paris, the British Museum in London, and the Hofbibliothek in Vienna. These watercolors represent an unusual opportunity to obtain original, unique works by a highly important and exceptionally talented artist. The brilliance that made the Sun King recognize Robert as the preeminent watercolorist of his day is still evident in these pristine and charming works.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

109 Nicolas Robert (1614-1685) Northern Bobwhite (Female) 12 x 13 1/4 inches Framed: 24 5/8 x 20 5/8 inches Gouache on vellum with gold fillet Paris, circa 1670 Estimate: $120,000 - 150,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Nicolas Robert (1614-1685) Blue Jay (Cyanocitta cristata) 12 x 13 1/4 inches Framed: 24 5/8 x 20 5/8 inches Gouache on vellum with gold fillet Estimate: $120,000 - 150,000

111

110

Nicolas Robert (1614-1685) King Vulture Watercolor on vellum with gold fillets 15 3/4 x 11 inches Framed: 20 1/2 x 24 3/4 inches Estimate: $20,000 - 30,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

112 Rex Brasher (1869-1960) Nesting Flamingos Gouache on board Board size: 15” x 21” ; Handsomely framed Signed in monogram and dated l.r.: RB/ 8.8.09 Estimate: $6,000 - 10,000 No Reserve

113

Rex Brasher (1869-1960) Seagulls Gouache on board Board size: 15” x 21”; Handsomely framed Signed in monogram and dated l.r.: RB/ 2.16.10 Estimate: $2,000 - 3,000 No Reserve

Rex Brasher (1869-1960) Terns Gouache on board Board size: 15” x 21”; Handsomely framed Signed in monogram and dated l.r.: RB/ 4.30.10. Estimate: $2,000 - 3,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

114

115

Joseph Wolf (1820-1899) Merlin; Falco aesalon; Falco columbarius Linnaeus Study for John Gould The Birds of Great Britain, I, plate 19 Pencil and watercolor with bodycolor and gum arabic Paper size: 21 x 14 1/2 inches; Handsomely framed Estimate: $25,000 - 35,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Luigi Broglio (18th century) Study of a Bird Gouache and watercolor with ink on paper 9 1/8â&#x20AC;? x 7 1/8â&#x20AC;? Signed, lower right: Luigi Broglio Estimate: $40,000 - 50,000 This flawlessly drafted study is an excellent example of the 18thcentury Italian School of natural history painting. The artist, Luigi Broglio, has depicted the bird in perfect detail, its coloring and plumage meticulously rendered. Though Broglio was clearly concerned with capturing the precise physical characteristics of his subject, he has also endowed this watercolor with striking animation, as the bird seems to have landed, suddenly, on the slender branch. The balance of scientific documentation and artistic creativity makes this a particularly engaging work, and a stunning example of an original work from this period.

116

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

118

117

Louis Agassiz Fuertes (1874-1927) Three Gyrfalcons Signed lower right: Louis agassiz FuerTes Watercolour and gouache on paper 19Âź x 15Â˝ inches; Handsomely framed Estimate: $10,000 - 15,000

119

Peter Paillou (fl. 1745-1806) A Cockerel Watercolour over pencil, heightened with bodycolour on laid paper Paper size: 14 x 19 1/2 inches Handsomely framed Signed lower right: P. Paillou 1755 Estiamte: $10,000 - 15,000

Francis Lee Jaques (1887-1969) Flock of Golden Eye Ducks Watercolor and gouache 11 1/4 x 15 1/4 inches; Handsomely framed Signed: F L Jaques Estimate: $10,000 - 15,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

120

Joseph Bartholemew Kidd (1808-1889) Pigeon Hawk (Falco Columbarius) 26 x 20 inches Framed: 28 x 32 inches Oil on canvas Estimate: $100,000 - 150,000

The history of this striking oil begins with Joseph Kidd's unique business arrangement with John James Audubon. The two artists first met in 1827, when Audubon was in Edinburgh overseeing the initial stages of production of his monumental “Birds of America” (a short time before the Scottish printer William Lizars was succeeded by Robert Havell, Jr., based in London). Kidd had received enough acclaim in his field to be brought to Audubon's attention, and to be regarded by the celebrated artist as his equal. Within several years, contemporary sources describe a joint venture formed by the two men. The intention was for Kidd to copy a number of Audubon's watercolor studies into oil, and then embellish and refine them using his own proficiency in painting landscapes. He was to add stunning backdrops to Audubon's dramatic birds. The renowned ornithologist knew where his strengths lay. He had spent years developing his signature style, and his focus was almost exclusively birds. Rather than spend years honing his skills in landscape painting, he chose to employ another artist who was able to paint surroundings which were breathtaking and awesome, and in this respect, perfectly suited to complement Audubon's birds. The purpose of the joint venture appears to have been manifold. The main goal was to create a "gallery" of embellished compositions based on Audubon's birds, thereby working both to promote the “Birds of America,” then in production, and to create a business venture which would hopefully prove quite lucrative in and of itself. Kidd's paintings were eventually to be sold, the profits to be divided by the two men. In a review of Audubon's work that appeared in Blackwood's Magazine in 1831, the noted Scottish ornithologist John Wilson wrote: "It is expected that there will be completed by Audubon, Kidd and others…Four Hundred Subjects…of which may the proceeds prove a moderate fortune!" By 1833, Kidd had copied and added sophisticated, dramatic landscapes to almost one-hundred of Audubon's watercolor compositions. For each of these paintings Audubon paid Kidd one pound-roughly $5. Yet some tension was beginning to arise in the arrangement with Kidd. The Scottish artist, apparently, was not the most industrious worker. In February of 1833, Audubon instructed his son Victor, in a letter from the U.S., to "push Jos. B. Kidd of Edinburgh if he can be pushed to paint copies of our drawings. I look on that series as of great importance to all of us." Yet the importance that the ornithologist ascribed Kidd's work is also stated clearly in a letter written soon after: "I long to hear that Kidd goes on with his task, for I truly believe that an exhibition of these Pictures in this Country would pay Monstrously well!" Eventually, due to such problems, the "Natural History Gallery of Paintings" was aborted, even though it seems to have been intended as an integral compliment to the “Birds of America.” Mainly because the project was not brought to completion, it has basically been lost to the public eye, in contrast with the amazing, enduring financial and artistic success of both the printed series and also Audubon's watercolor studies. This is greatly unfortunate in many respects: Audubon intended Kidd's individual paintings to be, in a sense, the most valuable of his birds, and also the most refined images he would present to the public. Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

121

Joseph Wolf (1820-1899) Saker Falcons Oil on canvas Canvas size: 28 1/4" x 20"; Handsomely framed Signed and dated lower right: J. Wolf 1864 Exhibited: Glenbow-Alberta Institute [now the Glenbow Museum], Calgary Canada, “Birds of Prey” Estimate: $120,000 - 150,000 This luminous oil displays Joseph Wolf's mastery of light and form. His rigorously rendered figures are placed in a context that conveys a bright and open sense of wilderness, while reminding the viewer of Nature's brutality. Saker Falcons is a fine and compelling work by this exceptional artist. "The great thing I always aimed at," Wolf told his biographer A. H. Palmer, "was the expression of Life." Wolf believed that intimate knowledge of the living subject, its habits, and its behavior was the key to authentic and successful zoological illustration. As such, his compositions reconciled the categories of art and science in an extraordinary and distinctive manner, becoming dynamic images of animated characterization as well as scientific documentation. Wolf, who grew up in Moerz in Prussia, was the first of a select band of continental European bird and animal artists to be attracted to England during the middle and latter half of the nineteenth century. At the age of sixteen he left home and apprenticed himself to the lithographic firm of Gebruder Becker in Coblenz, where he first met his future patron Hermann Schlegel, then the assistant keeper at the museum in Leyden, a prolific author of ornithological works. After brief spells in Frankfurt and Darmstadt, Wolf went to Holland and settled in Leyden in 1840; he was soon at work on the illustrations for Traite de Fauconnerie by Schlegel and Wulverhorst. Working on this book on falconry, Wolf became an expert at portraying birds of prey, a flawless skill of representation that is in full evidence in Saker Falcons. After developing contact with John Gould, Wolf established himself in London, where he exhibited at the Royal Academy, met Edwin Landseer and other animal artists, and won the patronage of discerning collectors like the Duke of Argyll and Lord Derby. Wolf had a long and productive relationship with Gould, contributing plates to The Birds of Asia and The Birds of Great Britain, and Gould became a frequent visitor to Wolf's studio. The rapidity of the growth of his reputation was due, according to his biographer A.H. Palmer, to his power “of revivifying a dried skin and not merely revivifying, but showing the most characteristic and beautiful attitude and expression of the living bird or animal,” and this combination of animation and beauty characterizes Wolf’s Saker Falcons.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

122

Archibald Thorburn (1860-1935) Common Eider Ducks Watercolor and bodycolor on paper Paper size: 20” x 16”; Handsomely framed Signed and dated: Archibald Thorburn 1912 Estimate: $15,000 - 20,000

124

Arthur Singer (1917-1990) Tropical birds set in a lush landscape Watercolor and gouache on paper Paper size: 17 1/4 x 19 inches; Handsomely framed Signed lower right: Arthur Singer ‘86 Estimate: $5,000 - 7,000

123

Paul Bransom (1885-1979) Glacier Bear Sight size: 9 1/4 x 7 1/4 inches ; Handsomely framed Watercolor, gouache, charcoal and ink on paper Signed lower right: Paul / Bransom Estimate: $2,000 - 3,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

Prideaux John Selby (1788-1867) Original watercolors for "Illustrations of British Ornithology." London, ca. 1820 Considered by many as the English equivalent of Audubon, Prideaux John Selby created some of the most memorable bird images of the 19th century. His contributions to British Ornithology were rivaled only by those of John Gould, and yet his images were on a larger scale and less purely scientific, exhibiting Selby's distinctive and charming style. A sense for Selby's enthusiasm for his subjects is nowhere more palpable than in his engaging original watercolors. Selby executed these delightful images as preparatory models for his landmark printed series, "Illustrations of British Ornithology." While the artist's engraved work is itself highly desirable to collectors, Selby's original watercolors almost never become available. This selection of watercolors, moreover, comprises several of his masterpieces. The distinctive birds are depicted in profile, their forms delineated by softly modulated tones of black and gray wash, while the setting, if present, is lightly but skillfully painted in order not to distract from the birds themselves. The skill and delicacy of Selby's touch, his keen powers of observation, and his artistic sensitivity are conveyed here in a way they are not in his printed work. Born in Northumberland and educated at University College, Oxford, Selby was a landowner and squire with ample time to devote to the study of the plant and animal life at his country estate, Twizell House. As a boy, he had studied the habits of local birds, drawn them, and learned how to preserve and set up specimens. Later, Selby became an active member of several British natural history societies and contributed many articles to their journals. Although Selby was interested in botany and produced a "History of British Trees" in 1842, he is best known for his "Illustrations of British Ornithology," the first attempt to produce a set of life-sized illustrations of British birds, remarkable for their naturalism and the delicacy of their execution. Issued in nineteen parts over thirteen years, the book consisted of 89 plates of land birds and 129 plates of water birds, engraved by William Lizars of Edinburgh, the printer who engraved the first ten plates of Audubon's "Birds of America."

125 Common Wild Goose Watercolor, gouache, grey and brown washes Paper size: 20 x 17 5/8”; Handsomely framed Signed lower left: PJ Selby Estimate: $25,000 - 30,000

126 King Eider, female Watercolor, gouache, grey and brown washes 18 1/4 x 15”; Handsomely framed Signed lower left: PJ Selby Estimate: $20,000 - 30,000

These exquisite watercolors, with their exceptionally rich detail and tonal range, are beautiful works by one of the foremost British bird painters. Furthermore, they represent a singular opportunity to obtain unique work of the highest quality by this luminary artist, from an era in British ornithological art that remains unparalled. Tufted Pochard Watercolor, gouache, grey and brown washes Paper size: 11 1/4 x 17 1/2”; Handsomely framed Signed lower left: PJ Selby Estimate: $20,000 - 30,000

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Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

128

129 Prideaux John Selby Kite or Glead Watercolor, gouache, grey and brown washes 16 5/8 inches x 11 1/2”; Handsomely framed Signed lower left: PJS Estimate: $20,000 - 30,000

Prideaux John Selby, Merlin, female 15 5/8 x 10 1/4 inches; Handsomely framed Watercolor, gouache, grey and brown washes London, ca. 1820 Estimate: $20,000 - 25,000

131

130 Prideaux John Selby, Black Grouse, male Watercolor, gouache, grey and brown washes 18 1/8 x 16 5/8 inches; Handsomely framed Signed lower right: PJ Selby Estimate: $30,000 - 40,000

Prideaux John Selby, Scaup Duck Paper size: 14 3/8” x 18 1/4”; Handsomely framed Watercolor, gouache, grey and brown washes Signed lower left.: RM Estimate: $20,000 - 30,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

132

Prideaux John Selby, Golden Eagle, female Watercolor, gouache, grey and brown washes 20 3/4â&#x20AC;? x 15â&#x20AC;?; Handsomely framed Signed lower right: PJ Selby Estimate: $50,000 - 60,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

133 Joseph Wolf (1820-1899) Bearded Vultures Attacking an Alpine Ibex Oil on canvas Canvas size: 90 1/2" x 67"; Handsomely framed Signed and dated l.r.: J. Wolf 1861 Literature: A.H. Palmer. The Life of Joseph Wolf, Animal Painter. London & New York: 1895 Estimate: $60,000 - 70,000

Sr Edwin Landseer described Joseph Wolf as “...without exception the best all-round animal painter who ever lived.” Born and educated in Prussia, Wolf left home at the age of 16 and apprenticed himself to the lithographic firm of Gebruder Becker in Coblenz, where he first met his future patron Hermann Schlegel, then the assistant keeper at the museum in Leyden and a prolific author of ornithological works. After brief spells in Frankfurt and Darmstadt, Wolf went to Holland and settled in Leyden in 1840; he was soon at work on the illustrations for Traite de Fauconnerie by Schlegel and Wulverhorst. Working on this book on falconry, Wolf became an expert at portraying birds of prey, a flawless skill of representation that is in full evidence in Bearded Vultures attacking an Alpine Ibex. After developing contact with John Gould, Wolf established himself in London in 1848, where he exhibited at the Royal Academy, met Edwin Landseer and other animal artists, and won the patronage of discerning collectors like the Duke of Argyll and Lord Derby. He quickly became the foremost animal illustrator in Britain. Wolf had a long and productive relationship with Gould, contributing plates to The Birds of Asia and The Birds of Great Britain, and Gould became a frequent visitor to Wolf's studio. The rapidity of the growth of his reputation was due, according to his biographer A.H. Palmer, to his power “of revivifying a dried skin and not merely revivifying, but showing the most characteristic and beautiful attitude and expression of the living bird or animal.” However, Wolf did not wish to be categorized as a scientific illustrator, preferring to create complete and naturalistic compositions which conveyed a sense of drama and mystery. Rather than show his subjects isolated from their environment, he integrated them into a natural setting and portrayed them involved in dramatic action. This combination of animation and beauty characterizes Wolf’s Bearded Vultures attacking an Alpine Ibex. In 1852, the British Zoological Society commissioned Wolf to complete several watercolors for its Zoological Sketches published in parts between 1856 and 1867. P.L.

Sclater, the secretary of the society, noted in the publication’s preface, “the Council was fortunate enough to secure the services of Mr Joseph Wolf, who may be fairly said to stand alone in intimate knowledge of the habits and forms of Mammals and Birds.” By this stage in his career, Wolf's works were in considerable demand both in their own right and as illustrations to books and journals. From 1859 to 1869 he was the regular artist for Ibis, the journal of the Zoological Society, and his work was also reproduced in the Illustrated London News, Once a Week, The Leisure Hour, The Sunday at Home, and The Graphic. Unfortunately, during the 1870s, Wolf was increasingly hindered by the onset of chronic rheumatism, which gradually curtailed his work, but he lived on into his eightieth year and died in London surrounded by his pet birds and held in high popular esteem. More than three-quarters of a century later his plates are regarded as among the finest productions of the great period of the illustrated book, while his oil paintings, watercolors and drawings are prized by museums and collectors alike. Barded Vultures Attacking an Alpine Ibex is a tense and atmospheric painting of epic scale that fulfills Wolf's love of drama, and also shows a master illustrator at the peak of his skills. According to his biographer, A.H. Palmer, Wolf considered this to be one of his finest and most characteristic works. This luminous oil displays Wolf's mastery of light and form. His rigorously rendered figures are placed in a context that conveys a rigorous sense of wilderness, while reminding the viewer of Nature's brutality. “The great thing I always aimed at,” Wolf told his biographer A. H. Palmer, “was the expression of Life.” Wolf believed that intimate knowledge of the living subject, its habits, and its behavior was the key to authentic and successful zoological illustration. As such, his compositions reconciled the categories of art and science in an extraordinary and distinctive manner, becoming dynamic images of animated characterization as well as scientific documentation.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

133 continued

The Most Impressive, Large-scale Work by Wolf to Ever Come on the Market

Joseph Wolf (1820-1899) Bearded Vultures Attacking an Alpine Ibex Oil on canvas Canvas size: 90 1/2" x 67"; framed size: 96 1/2â&#x20AC;? x 73â&#x20AC;? Signed and dated l.r.: J. Wolf 1861 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

134 Roger Tory Peterson (1908-1996) Peterson was an internationally renowned ornithologist, naturalist, author, lecturer and artist. Nevertheless, out of all of these labels he first and foremost identified himself as an artist. Born in Jameston, New York, Peterson spent his youth sketching and observing birds in nearby rivers and fields, and reading books about the titans of ornithological illustration like Durer, Lear, Audubon and Fuertes. As he grew into adulthood, Peterson studied at the Art Students League and National Academy of Design, both in New York. After college, Peterson moved to Massachusetts in order to teach science and art. It was there that he developed his extremely influential system for identifying birds in the field. Peterson's system ultimately inspired him to publish his first Field Guide to the Birds in 1934. In spite of a severe economic depression, Peterson's Guide sold out in one week. His book would subsequently be re-released in 4 more editions. Peterson is rightly credited as one of the founding inspirations of the twentieth-century environmental movement, having tirelessly traveled the world to lecture on, observe, and record obscure and exotic species of birds.

He also served as a vital member of the administrative staff of the National Audubon Society, managing the organizationâ&#x20AC;&#x2122;s educational programs and serving as the art editor of its magazine. Peterson also served as art director of the National Wildlife Federation for over three decades, and made environmental films in America, Europe, Africa, the Galapagos Islands, and Antarctica and the Artic. Peterson's works are part of the permanent exhibit at the Leigh Yawkey Woodson Art Museum in Wasau, Wisconsin, and have also been exhibited at the Smithsonian Institution. Peterson has received every major American award for natural science, ornithology, and conservation. He has also been the recipient of numerous honorary medals, diplomas, and citations, including the U.S. Presidential Medal of Freedom and the Order of the Golden Ark of the Netherlands. Peterson died at his home in Old Lyme, Connecticut in 1996.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

134 continued

Roger Tory Peterson (1908-1996) Arctic Glow - Snowy Owls 53 1/2 x 35 1/2inches; Handsomely framed Acrylic and pencil on board Signed and dated lower left: Roger Tory Peterson - ‘83’ Signed, dated and inscribed verso: ‘To My Ginny / With Love,/ Roger - / June ‘83’ Estimate: $90,000 - 110,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

135

A Masterpiece from the Goeblins Tapestry Manufactory Le Cheval pommelé ou L'Indien à Cheval\ (The Indian on horseback /or The Grey Horse) From the series Tenture des Indes (Anciennes Indes/Old Indies tapestries) After a cartoon by Albert Eeckhout The Gobelins Tapestry Manufactory (Manufacture Royale des Gobelins); Wool and silk. Woven basse lisse, within the ‘first’ four-sided borders of gold and red alternating acanthus leaf and guilloche bands on a blue ground, with further narrow inner husk and outer red and gold banded borders, with blue outer selvedge. The reverse with a section of old lining marked in ink with: No 158. INDIENS. 8.P.4. au, 3 au 15ft. 1in. x 11ft. 3in. (approximately 458 x 344 cm) Woven 1687-89 Provenance: Collection of H. Braquenié, sold 18th May 1897; Collection Carlos de Beistegui, Palazzo Labia, Venice, sold 6-10th April 1964; Private Collection; Collection of Alberto Bruni Tedeschi References: Maurice Fenaille, Etat général des tapisseries de la Manufacture des Gobelins depuis son origine jusqu'à nos jours (1600 - 1900). Période Louis XIV (1662 - 1699). Paris 1903, p. 376, illustrates a weaving from the workshop of De la Croix, 1689, now in the Mobilier National, Paris. The whole series is to be seen in Jean Vittet, Arnauld Brejon de Lavergnée, La collection de tapisseries de Louis XIV, Dijon 2010, p. 402 - 407. Estimate: $700,000 - 900,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

A Masterpiece from the Goeblins Tapestry Manufactory

136

Le roi porté par deux Maures (The King borne by Two Moors) From the series Les Anciennes Indes, after a cartoon by Albert Eeckhout The Gobelins Tapestry Manufactory (Manufacture Royale des Gobelins) Wool and silk. Woven basse lisse, within the ‘first’ four-sided gold and red acanthus borders on a blue ground, with narrow inner husk and outer red and gold banded borders, with blue outer selvedge 15ft. 4in. x 10ft. 8in. (approximately 467 x 325 cm)Woven 1687-89 Provenance: Collection of H. Braquenié, sold 18th May 1897; Collection Carlos de Beistegui, Palazzo Labia, Venice, sold 6-10th April 1964; Private Collection; Collection of Alberto Bruni Tedeschi References: Charissa Bremer-David, "Le Cheval Rayé: A French Tapestry Portraying Dutch Brazil", The J. Paul Getty Museum Journal, 22, 1994, pp. 21-29. Charissa Bremer-David, French Tapestries & Textiles in the J. Paul Getty Museum, Los Angeles 1997. Maurice Fenaille, Etat général des tapisseries de la Manufacture des Gobelins depuis son origine jusqu'à nos jours (1600 - 1900). Nello Forti Grazzini, "Le Indie Tessili: Arazzi di Malta", FMR (Italian ed.), No. 128, June-July 1998, pp. 37-74 (English ed.: FMR/International, No. 92, June-July 1998, pp. 37-74. Nello Forti Grazzini, "The Striped Horse", in Thomas B. Campbell, ed., Tapestry in the Baroque: Threads of Splendor, catalogue of the exhibition (held in New York and Madrid, 2008), New York-New HavenLondon 2008, cat. 48, pp. 390-97. M. Jarry "The 'Tenture des Indes' in the Palace of the Grand Master of the Order of Malta," The Burlington Magazine No. 666, 1958 pg. 306-11. Gerlinde Klatte, "New Documentation for the "Tenture des Indes" tapestries in Malta," The Burlington Magazine, No. 1300, Vol. CLIII, July 2011 pp. 464-469. Période Louis XIV (1662 - 1699). Paris 1903, p. 376, illustrates a weaving from the workshop of De la Croix, 1689, now in the Mobilier National, Paris. The whole series is to be seen in Jean Vittet, Arnauld Brejon de Lavergnée, La collection de tapisseries de Louis XIV, Dijon 2010, p. 402 - 407. P.J.P Whitehead, A Portrait of Dutch 17th century Brazil, Animals, Plants and People by the artists of Johann Maurits of Nassau. Amsterdam, Oxford, New York, 1989. Estimate: $700,000 - 900,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

An Exceedingly Rare Large-Paper Example of Redouté’s “Les Roses,” Flawlessly Hand-Colored by the Artist Himself

137

Redoute, Pierre Joseph (1759-1840) and Claude Antoine Thory (1759-1827). Les Roses Paris: Firmin Didot, 1817-1824. Estimate: $350,000 - 400,000

3 volumes. Folio (21 x 14 inches). Half-titles, engraved portrait of Redouté by C. S. Pradier after Gerard, stippled engraved wreath and 169 stipple-engraved plates after Redouté by Bessa, Bessin, Chapuy, Langlois, Victor and others, printed in colors and finished by hand (tear repaired crossing the text on page 71 of volume one, the first plate of volume 3 lightly spotted, some occasional spotting). Contemporary French purple half morocco by Simier, top edges gilt, others uncut (extremities a bit scuffed). Provenance: From the library of the Marquises of Bath at Longleat. Guidance: Sold at Christie's April 30, 1997, Lot 57 for $465,750 Redouté's printers struck black impressions-always on paper with a distinct ochre tint-from the plates for both "Les Roses" and "Les Liliacées". The botanical descriptions were by Claude Antoine Thory (1759-1827), a civil servant by profession, and an enthusiastic gardener who cultivated his own collection of roses. He and Redouté regularly traded cuttings and seeds. The roses depicted in the work included examples from Thory's own collection as well as from Malmaison. "Redouté and Thory knew, described, and figured almost all the important roses in their day. Included were many of the key ancestors of our present-day roses. The plates in "Les Roses" have artistic value, and botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared" [Sir George Taylor quoting Gisèle de la Roche in the Schutter facsimile, (Antwerp, 1974-78)]. Dunthorne 232; "Great Flower Books" p. 71; Hunt "Redoutéana" 19; Hunt "Printmaking in the Service of Botany" 25; Johnston Cleveland "Herbal" 807; Nisen BBI 1599; Pritzel 7455; Ray "French" 89; Stafleu TL2 9748.

First edition, bound from the original 30 parts between March 1817 and March 1824, each part containing six plates (except no. 10, which had one plate, and no. 30, which had none). "Les Roses" was issued in four formats: a large-paper folio with colored plates (as here); a "special issue" of each work with the extra suite of black impressions on ochre paper was apparently bound in very small quantities (Hunt, "Printmaking"); folio with colored plates; and folio with the plates in two states. "Perhaps the most renowned and reproduced of all flower-books." (Coats) Commemorating the rose garden of the Empress Josephine, many of the roses having been painted in her garden at Malmaison. The subtle gradations of tone found in Redouté's original watercolors are shown to perfection by the technique of the stipple engraving used to produce these exquisite plates. Redoute met the renowned and talented engraver Francesco Bartolozzi, on a trip to London and learned that the most successful impressions of stipple engravings came from well-used plates. A number of initial black plates were struck to take the edge off the plate before printing in colors began.

Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

An Exceptionally Fine Collection of the Works of John Gould (1804 - 1881) 138

Estimate: $1,600,000 - 2,500,000 Guidance: Christie's April 30, 2008. Lot 18 $2,458,658 Books sold individually if reserve not met John Gould was without question the most prolific ornithological artist of the 19th century, and the only one to rival John James Audubon in ambition and quality. The 19th century was a time of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould's unparalleled career spanned five decades, and he produced a magnificent series of books of birds throughout the world. From the time he took up taxidermy in his early teens, Gould was devoted to recording bird life, either as he observed it personally or as it was reported to him by other ornithologists. He procured the scientific information through extensive correspondence, travel, and field research. The preparatory drawings that he produced were passed on for completion to skilled illustrators, most notably his wife, Elizabeth, and Edward Lear. The plates which resulted from such partnerships were a splendid fusion of art and science, with a scope than remains unsurpassed. Stunning and at the same time highly accurate, Gould's illustrations linked beauty to science, and science to beauty, in and an unprecedented manner. The following list comprises many of his most noted and rare publications, and each example shares a provenance of exceptional distinction, having been collected by one of the most highly discriminating collectors, J. P. Morgan. Some with the Provenance of J. P. Morgan who purchased the set from Henry Sotheran & Co., on June 15, 1899, and he donated it to the Wadsworth Athenaeum in the name of his father; each volume has Morganâ&#x20AC;&#x2122;s commemorative bookplate on the inner front cover. The beautiful plates are in remarkably clean and bright condition, with the bindings in an equally fine state. Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

138c

138a John Gould (1804-1881). The Birds of Europe. London: by the author, [1832]-1837. 5 volumes. Folio (22 4/8 x 14 4/8 inches). Estimate: $90,000-$100,000

John Gould (1804-1881) [Nicholas Aylward Vigors (1787-1840)]. A Century of Birds from the Himalaya Mountains. London: [for the author], 1831-[1833]. Estimate: $15,000-$20,000

John Gould (1804-1881). A Monograph of the Ramphastidae, or Family of Toucans. London: for the Author, [1833-]1834[-1835]. Estimate: $60,000-$80,000 138b

138d

John Gould (1804-1881). The Birds of Australia. London: published for the author, printed by Richard and John E. Taylor, [1840-] 1848. - The Birds of Australiaâ&#x20AC;Ś Supplement. London: published by the author, [1851]-1869. 8 volumes. Folio (22 4/8 x 14 4/8 inches). Estimate: $300,000-$400,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

138e John Gould (1804-1881) - Richard Bowdler SHARPE (1847-1909). The Birds of Asia. London: Taylor and Francis for the author. 1850-1883. Estimate: $140,000-$180,000

138g

138f

John Gould (1804-1881)] Monograph of the PittidĂŚ. London: published by the author, October 1880-1881. Estimate: $10,000-$15,000

John Gould (1804-1881) and Richard Bowdler Sharpe (1847-1909). The Birds of New Guinea and the adjacent Papuan islands, including many new species recently discovered in Australia. London: Taylor and Francis for Henry Sotheran & Co., 1875-1888. Estimate: $100,000-$150,000

Sir John Franklinâ&#x20AC;&#x2122;s Copy

138h

John Gould (1804-1881). Monograph of the Trogonidae, or Family of Trogons. London: Richard and John E. Taylor, for the author, 1858-1875. Estimate: $30,000-$40,000 Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

138j

John Gould (1804-1881). The Birds of Great Britain. London: Taylor and Francis for the author, [1862]-1873. 5 volumes. Folio (22 4/8 x 14 4/8 inches). Estimate: $80,000-$100,000

138i A Monograph of the Trochilidae, or Family of Humming-Birds First edition: London, 1849-1861 Estimate: $120,000-$180,000

138l 138k

â&#x20AC;&#x153;An Animal Perfectly New and Undescribedâ&#x20AC;? John Gould (1804-1881). [London: by the author, August 1st 1841-May 1st 1842]. Two parts in one volume. Folio (21 6/8 x 14 6/8 inches). Estimate: $45,000-$60,000

John Gould (1804-1881). A Monograph of the Odontophorinae, or Partridges of America. London: Richard and John E. Taylor for the Author, [1844]-1850. Folio (22 4/8 x 14 4/8 inches). Estimate: $10,000-$15,000

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

The Most Significant Maps in American History as Defined by Professor Seymour Schwartz in his Seminal Work â&#x20AC;&#x153;Mapping of Americaâ&#x20AC;? & A Fine Selection of Globes and Atlases Evening Session, 6pm Lots 139 - 190

Unable to attend the auction in NYC on December 5th? Feel free to contact Guernsey's to arrange for absentee telephone bidding. You can also bid in "real time" on the Internet at liveauctioneers.com or send in the Absentee Bid Form at the back of this catalogue. Thank you. Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

The Legacy of Professor Seymour Schwartz For a period of about 10 years ending about a year ago it was possible to acquire the key American maps in Seymour Schwartz's "Mapping of America" for roughly $45,000. As time goes by the genius of Dr. Schwartz becomes all the more evident as sophisticated collectors realize that the maps he illustrates in his book are the ones to own chiefly because of their historical importance but then followed by aesthetic merit, condition, rarity and provenance - a system of map grading that was published by Arader Galleries in 1979 - over 32 years ago. Why did it take so long? Now the race is on to get the masterpieces that truly had an effect on history. Sy's book illustrates 95% of these key maps that illustrate profoundly important NEW information for the very first time. One of these key maps came up at Brunk Auction in North Carolina on July 16th. It was the John Abraham Collet map of North Carolina published in London in 1770. Basically it was put together to show King George III, the English parliament and the English people what they won at the Treaty of Paris in 1763 signed between England and France at the conclusion of the French and Indian War. William Pitt the elder bankrupted England winning this war and he was determined to show his fellow countrymen the vast lands that they now controlled. One way he accomplished this was to generate a series of maps of the British Colonies constructed by his supremely talented British officers. Not only could they lead a group of soldiers in battle, wield a sword with deadly effect, shoot you between the eyes at 50 yards, laugh in the face of certain death, steal your wife from you for an afternoon of pleasure, drink you under the table and tell stories brilliantly, they were also precise draftsman. The maps that ensued are consistently superb. Most became available at the start of a revolution by so called "Americans" determined to avoid paying taxes. Taxes that were generated to protect these English deadbeats living in the Colonies from being pushed into the Atlantic Ocean by the French. So today they are called the maps of the American Revolution. They are not. They are the maps of William Pitt used to show ALL Englishman what was won from a French King preoccupied and distracted by the most beautiful woman that ever lived. If it were not for Pitt, we would all be speaking French instead of English. During this period English designers employed superb asymmetric rococo decorative design motifs and this map has a fine example housing the title in its "cartouche." So this maps is a winner as well because of aesthetics. On June 25th a truly important map to come up was the Persac map of the Mississippi River. This is a map of legend showing all the plantations just before the opening of the Civil War that devastated the way of life for all Louisianians for over 100 years. Up until this asinine, purposeless confrontation between the North and the South, New Orleans was the most important, richest city in the United States. They became brilliant traders slicing a rich cut of all trade that came down "Old man river." Magnificent homes were built all over the region and the French culture imbued its residents with a wicked elegance that forcefully survives to this day. The Persac map sums up the birth of this culture and it sold for $197,000 at Neal's Auction House! So two great maps of the South have made very close to $200,000. It is my prediction that the key TEMPLATE maps showing the birth of regions or states or cities in the United States from the 16th to 19th centuries will sell in the region of $200,000 for the next year or so. And with the Abel Buell map making over $2,000,000, there is no question that some of the truly legendary maps will reach this value again. This previous long period of lower prices is the result of map thieves stealing on demand for entitled collectors who rarely, if ever, checked provenance. Finally, all the map libraries with lazy stewards have now been fully looted and only the collections with vigilant curators remain. So prices have jumped 400% in the last two years as the rarity factor has finally had an effect. Of course this now will breed intense pressure on map librarians all over the world. These new values will ignite a feeding frenzy by dealers and their grimy henchmen unable and unwilling to buy legitimately. Their prey will be collectors who conveniently "forget" to insist on provenance and integrity.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

The first obtainable world map to show a printed depiction of America 139

Johannes Ruysch (c. 1460-1533) "Universalior cogniti orbis tabula ex recentibus confecta observationi" ("A Universal Map of the Known World, Constructed by Means of Recent Observations") from Geographia Cl. Ptholemaei Engraving: 17” x 23”; Rome, 1507 (1508) Estimate: $175,000 - $200,000 Reference: Page 27, Plate 6 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

140

141

Martin Waldseemuller Tabula Terre Nove Woodcut map with original hand color: 18” x 233/4”; Strassburg, 1513 Estimate: $125,000 - 175,000 Reference: Page 34, Plate 8 in Schwartz’s The Mapping of America

Oronce Fine (1494-1555) “Nova, Et Integra Universi Orbis Descriptio” from Novus Orbis Regionum... Woodcut Frame size: 23 3/8” x 28 1/2”; Paris, 1531 [1532] Estimate: $50,000 - 60,000 Reference: Page 46, Plate 16A in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

142 Sebastian Munster Tabula nouarum insularum, quas diverses respectibus Occidentales & Indianas uocant From Cosmographiae Universalis... Woodblock print Map size: 15 1/2” x 12 1/2” Ninth state Basel, 1540/1559 Estimate: $6,000 - 7,000 No Reserve Reference: Page 50, Plate 18 in Schwartz’s The Mapping of America

143 Giacomo Gastaldi (attr.) La Terra de Hochelaga nella Nova Francia, 1556 Woodcut 10 x 14 inches Estimate: $3,000 - 4,000 No Reserve Reference: Page 64, Plate 28 in Schwartz’s The Mapping of America

144 Bolognino Zaltieri Il Disegno del discoperto della noua Franza 1566 Engraving 10 1/2 x 16 inches Estimate: $150,000 - 175,000 Full margins Reference: Page 67, Plate 30 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

145 Abraham Ortelius America Sive Novi Orbis Nova Descriptio from Theatrum Orbis Terrarum Copper plate engraving with original hand-color: paper size 18 x 22 1/2”; Antwerp, c.1587 Estimate: $5,000 - 7,000 No Reserve Reference: Page 69, Plate 32 in Schwartz’s The Mapping of America

146 Engraved portrait of Sir Francis Drake Estimate: $8,000 - 9,000 No Reserve Reference: Page 75 in Schwartz’s The Mapping of America

147 Theodore De Bry (1528-1598) & John White (1550-1606) Americae pars, Nunc Virginia dicta Copperplate engraving Paper size: 12 1/2” x 17 1/4” ; Frankfurt, 1590 Estimate: $22,000 - 25,000 Reference: Page 77, Plate 37 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

148 Jacques le Moyne de Morgues (d. 1587) Floridae Americae Provinciae from volume two (“Brevis Narratio Eorum Quae in Florida Americae Provicia) of Theodore de Bry's Great Voyages Frankfurt, 1591; Copperplate engraving; 15 1/8 x 18 3/8” Estimate: $22,000 - 25,000 Reference: Page 77, Plate 38 in Schwartz’s The Mapping of America

149 Cornelis de Jode Americae Pars Borealis, Florida, Baccalaos, Canada, Corterealis, 1593 Engraving; 15 x 20 inches Estimate: $30,000 - 40,000 Reference: Page 78, Plate 39 in Schwartz’s The Mapping of America

150

Marc Lescarbot Figvre de la Terre Nevve, Grande Riviere de Canada, et Cotes de l’Ocean en la Novvelle France, 1609 Engraving; 7 x 17 inches Estimate: $40,000 - 50,000 Reference: Page 90, Plate 45 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

151

Samuel de Champlain’s Final and Most Detailed Map: A Landmark in the Mapping of the Great Lakes, New England and Canada

Samuel de Champlain Carte de la nouvelle France Engraving: 20 ½" x 34"; Paris, 1632 Estimate: $90,000 - 110,000 Guidance: Sotheby's May 9, 2012. Lot 180. $102,737 Reference: Page 93, Plate 48 in Schwartz’s The Mapping of America Samuel de Champlain’s landmark maps set a precedent for generations of cartographers, and many mapmakers of later decades had a great deal of difficulty matching the renowned explorer's standards of accuracy and meticulous detail. This map and the voyages it records not only helped establish French dominion in North America, but at the time, represented the most successful combination of scientific discovery and skilled artistry ever published. No maps better relate the excitement of New World exploration than those of Champlain. Carte de la nouvelle France was Champlain's final and most detailed map. Like his map of 1613, it is extremely rare, and continues the explorer/ cartographer's standard of accuracy, attention to detail, and striking decoration. A large, two sheet map, Carte de la Nouvelle France was published in Champlain's most complete account of his voyages, which described the events of Nouvelle France up to 1629. Considered by many his finest map, it is of interest not only for the comprehensive summary it provides of French knowledge of Acadia and the St Lawrence valley at the time, but above all because of its representation of the Great Lakes. For the first time all of them except Michigan appear. "Lac St. Louis" is Lake Ontario, leading up to "a fall of water at the end of the Falls of St. Louis, very high, where many kinds of fish are stunned in descending." A rudimentary Lake Erie is followed by a more recognizable "Mer douce," now Lake Huron, the "freshwater sea." "Grand Lac," Lake Superior, which Champlain never actually saw, is here depicted for the first time in recognizable form on a map. The map contains far greater detail than any of Champlain's earlier productions, extending as far south as the Virginia colonies. The Hudson River called the "Riviere des trettes," and Long Island is "Isle de l'Ascension." An illustration of a church serves to indicate the Dutch presence in the region, and is considered the first delineation of present day New York City on a printed map. There is no reference to the English in New England, as perhaps Champlain thought that to recognize the British stronghold on the area was to acknowledge a strong competitor. Champlain's huge sea to the north forms part of the hypothetical Northwest Passage, and the coat of arms of Louis XIII lays claim to the vast expanse of northern Canada. Carte de la Nouvelle France, like Champlain's map of 1613, provided invaluable knowledge about unknown areas, and remains a cornerstone document in American and Canadian cartography. Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

152 John Smith (1580-1631) Virginia Burden, State 9 Engraving: London, 1612 (1624-32) Estimate: $30,000 - 40,000 Guidance: Sotheby’s Benevento Collection, London, May 6, 2010, Lot 29, Sold for GBP34,850 or $55,760 Reference: Page 95, Plate 50 in Schwartz’s The Mapping of America

153 John Smith (1580-1631) New England the most remarqueable parts thus named by the high and mighty Prince Charles, Prince of great Britaine. Observed and described by Captayn John Smith” from The General Historie of Virginia, NewEngland and the Summer Isles State 5 Copperplate engraving Estimate: $60,000 - 70,000 Guidance: Swann December 9, 2004. Lot 193. $41,400 Reference: Page 98, Plate 53 in Schwartz’s The Mapping of America

154 Henry Briggs For inclusion in the Atlas by Samuel Purchas: The North Part of America from Hakluytus Posthumus or Purchas His Pilgrimes... Engraving: 11 1/2” x 14 1/8.” London: William Stanley for Henrie Featherstone, 1625-26. Estimate: $10,000 - 15,000 Reference: Page 101, Plate 56 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

155 Joannes de Laet Nova Anglia, Novvum Belgivm et Virginia Leyden: 1630 Engraving with original hand colored 15” x 12” Estimate: $4,000 - 5,000 No Reserve Reference: Page 103, Plate 57 in Schwartz’s The Mapping of America

156 Ogilby Noua Terrae Mariae tabula 1671 Engraving 12 x 15 1/2 inches Estimate: $12,000 - 15,000 Reference: Page 107, Plate 60 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

157 Nicholas Sanson (1600-1667) Amerique Septentrionale 3rd State, 1659 Engraving with original outline color Paper size: 17 3/4 x 23 3/4 inches Estimate: $6,000 - 8,000 No Reserve Reference: Page 112, Plate 61 in Schwartz’s The Mapping of America

158 Nicholas Sanson (1600-67) Le Canada, ou Nouvelle France, & c. Copperplate engraving with original color Plate size: 16" x 21 3/8"; paper size: 17 3/4" x 22 3/4" Paris: Pierre Mariette I, 1656 Estimate: $6,000 - 8,000 No Reserve Reference: Page 114, Plate 62 in Schwartz’s The Mapping of America

John Foster A Map of New England, 1677 1st English Edition; Woodcut 12 x 15 inches Estimate: $70,000 - 80,000

159

Reference: Page 123, Plate 68 in Schwartz’s The Mapping of America From HUBBARD, William (1621? - 1704) “The Present State of New - England Being a Narrative of the Troubles with the Indians in New - England,...London: Tho. Parkhurst, 1677, 4to. (8 x 6 2/8”). Contemporary sheep, rebacked preserving the original spine. Free endpapers renewed. Provenance: With the near contemporary pen trials of Richard Wiyth dated 1699 on the preliminaries and last leaves. English edition of the 1st map to be printed in America. Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

160 Thomas Holme A Mapp of ye Improved part of Pensilvania in America, Divided into Countryes Townships and Lotts, 1687 Engraving with original hand color 15 1/2 x 21 inches Estimate: $60,000 - 70,000 Reference: Page 123, Plate 70 in Schwartz’s The Mapping of America

161 Guillaume DeLisle Carte du Canada ou de la Nouvelle France 2nd state, Quai de l'Horloge... Hand-colored engraving Paris, 1703 27 x 20” Estimate: $2,000 - 3,000 No Reserve Reference: Page141 , Plate 80 in Schwartz’s The Mapping of America

162 Guillaume Delisle (1675-1726) Carte du Mexique et de la Floride, 1703 1st State Published in Paris on Rue des Canettes Estimate: $20,000 - 25,000 Reference: Page 142, Plate 82 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

The First Map to Name Texas and to show the Missouri River

163

Guillaume Delisle (1675-1726) Carte de la Louisiane et du Cours du Mississippi 1st edition, 1718 Copper-plate engraving with original hand color: 201/2" x 271/4" Estimate: $30,000 - 40,000 Reference: Page 146, Plate 84 in Schwartz’s The Mapping of America

164

Henri Abraham Châtelain (1684-1743) “Carte tres curieuse de la Mer du Sud...” from Atlas historique ou nouvelle introduction a l’histoire... Copper-plate Engraving 17 1/2 x 56 1/2 inches (each) Amsterdam, 1719 Estimate: $15,000 - 18,000 Reference: Page 147, Plate 85 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

William Price’s Issue of John Bonner’s “The Town of Boston in New England” The First Printed Map of Boston

165

John Bonner (1643-1726) and William Price (ca. 1685-1771) A New Plan of ye Great Town of Boston in New England in America Copperplate engraving Sheet size: 19 3/16” x 24 5/8”; Boston: Francis Dewing, 1769 Estimate: $250,000 - 300,000 Guidance: Northeast Auctions February 23-25, 2007. Lot 421. $220,500 Reference: Page 148, Plate 86 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

The Earliest Large Scale Map of North America, The First Printed Map to Name the Thirteen Colonies, and the Best English Representation of North America Prior to John Mitchell's Landmark Map of 1755

166

Henry Popple A Map of the British Empire in America... London: William Toms, 1733 First Edition; Ten maps: twenty sheets; Each measuring: 24 1/4” x 43 1/4”; Hung as a whole: 125 1/4” x 87 1/2”. Estimate: $120,000 - 150,000 From the collection of Charles Frasier Reference: Page 152, Plate 90 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

167 Peter Jefferson and Joshua Fry A Map of the Most Inhabited Part of Virginia, containing the whole province of Maryland with part of Pensilvania, New Jersey and North Carolina Engraving with original hand color: two sheets, each app. 31” x 49” London, 1751 (1775) Estimate: $60,000 - 70,000 Reference: Page 158, Plate 92 in Schwartz’s The Mapping of America

168 Phillippe Buache (1700 - 1773) “Carte de Nouvelles Decouvertes au Nord de la Mer du Sud” Copper-plate engraving with original outline color: 18 3/8” x 26 3/8” Paris, 1752 Estimate: $10,000 - 12,000 Reference: Page 161, Plate 94 in Schwartz’s The Mapping of America

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The Most Important Map in American History

169

John Mitchell "A Map of the British and French Dominions in North America." Engraving; 53" x 77" 3rd edition, c. 1773 Estimate: $200,000 - 250,000 Reference: Page 164, Plate 96 in Schwartzâ&#x20AC;&#x2122;s The Mapping of America

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170 Lewis Evans published by Robert Sayer and John Bennett A General Map of the Middle British Colonies in America Copperplate engraving, London, 1776 Estimate: $4,000 - 6,000 Reference: Page 165, Plate 98 in Schwartz’s The Mapping of America

171 John Montresor Map of the Province of New York, with Part of Pennsylvania , and New England, from an Actual Survey by Captain Montresor, Engineer, 1775. Copperplate engraving with original outline hand color Paper size: 58 1/2” x 37 1/4”; framed size: 63 1/8” x 42 1/4” London: A. Dury, June 10, 1775 Estimate: $15,000 - 20,000 Reference: Page 186, Plate 114 in Schwartz’s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

172

Christopher Colles (1739 - 1816) A Survey of the Roads of the United States of America New York: 1789 Quarto, original boards, paper label, as issued, with remnants of the original tie-strings. Engraved titlepage by C. Tiebout and 83 engraved plates (34-39 missing, like all copies, as never published) by the same; copy of Colles’s Prospectus and advertisement pasted to inside cover; enclosed in full solander case, spine gilt in 6 compartments Estimate: $100,000 - 150,000 Reference: Page 205, Plate 130 in Schwartz’s The Mapping of America

173 Alexander von Humboldt Carte Generale du Royaume de la Nouvelle Espagne depuis le Parallele de 16 jusqu’au Parallele de 38 (Latitude Nord) Dressee Sur des Observations Astronomiques et sur l’ensemble des Materiaux qui existoient a Mexico, au commencement de l’annee 1804, 1811 Estimate: $40,000 - 50,000 From Essai politique sur le royaume de la Nouvelle-Espagne; F. Schoell, Paris, 1811. 3 volumes: 2 volumes text, 4to., (13 4/8 x 10 inches); and atlas volume, folio (22 x 16 inches). Half-titles in each volume. With the dedication leaf and 4-page dedication to Charles IV. 21 engraved maps, profiles, views, and charts on 19 sheets, four handcolored (some intermittent pale spotting.) Modern tan calf-backed black marbled paper boards, spines gilt, by Atelier Laurenchet. Provenance: Bookplates of Jay T. Snider, Collection of Historical Americana. First edition, a very rare variant. Reference: Page 227, Plate 139 in Schwartz’s The Mapping of America Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

174

Abraham Bradley, Jr. Map of the United States, Exhibiting the Post-Roads, the situations, connexions & distances of the Post-Offices... Engraving with original hand color Sheet size: 38 3/4" x 53" Philadelphia, 1804 Literature: Schwartz and Ehrenberg, The Mapping of America, pl 136. Estimate: $80,000 - 90,000 Reference: Page 222, Plate 136 in Schwartzâ&#x20AC;&#x2122;s The Mapping of America

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

175

John Melish Map of the United States with Contiguous British & Spanish Possessions Copperplate engraving with original hand color Engraved by J. Vallance and H.S. Tanner; 4th state Philadelphia: John Melish, June 16, 1820 43 1/2” high x 56 1/2” long Estimate: $60,000 - 70,000 Reference: Page 233, Plate 145 in Schwartz’s The Mapping of America

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176

J.H. Young Mitchellâ&#x20AC;&#x2122;s Travellers Guide Through the United States. A Map of the Roads, Distances, Steam Boat & Canal Routes &c., 1835 Engraving on steel with original hand color 18 x 23 inches Estimate: $3,000 - 4,000 No Reserve Reference: Page 250, Plate 158 in Schwartzâ&#x20AC;&#x2122;s The Mapping of America

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The Map that was Used in the Treaty of Guadalupe Hidalgo to make Texas and California part of the united states, Confirming Manifest Destiny for the Expanision of the United States from the Atlantic to the Pacific Ocean

177

John Disturnell (1801-1877) Mapa de los Estados Unidos de Mejico... 31 1/2 x 43 1/2 inches Line engraving with full original color Folds into small case: 3 7/8” x 5 7/8”, with symbol of Mexican Republic and the English title, Map of the Republic of Mexico. Published by J. Disturnell. New York New York, 1846 Estimate: $90,000 - 110,000 Guidance: Neal Auction June 25, 2011. Lot 197. $107,550 Reference: Page 274, Plate 170 in Schwartz’s The Mapping of America

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The First World Map to Use a Copernican Projection

178

Hans Holbein and Sebastian Munster Typus Cosmographicus Universalis Woodcut 14 3/4 x 22 inches Basle, 1537 Estimate: $25,000 - 30,000

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The First Year of Texas as a Republic

179

James Hamilton Young A New Map of Texas, with Contiguous American and Mexican States 12 3/4 x 15 1/4 inches Phil.: Samuel Augustus Mitchell, 1836 Estimate: $15,000 - 20,000

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A History of Globes & Globemaking The terrestrial globe (spherical map of the earth) is the only true cartographic representation of the earth and possesses several advantages over a flat map, for distances, directions, and areas are shown without the distortion that necessarily results from projecting the three-dimensional earth onto a two-dimensional surface. Although the earth is not in actuality a perfect sphere (having a larger diameter at the equator than at the poles), the deviation is negligible at the scale of most globes. A celestial globe (spherical map of the heavens) takes the earth as its imaginary center in showing the positions of the stars. The celestial globe has a longer history than the terrestrial globe. Greek and Roman authors mention the existence of celestial globes as well as instances of their use. Cicero, in his treatise De Republica, describes the use of one by Archimedes (287-212 BCE). The first terrestrial globe, on the other hand, was produced by Krates of Mallos, around 150 BCE. After the fall of the Roman Empire, the skills of geography and astronomy were carried on mainly in the Arab world, and it was from this region that globes were reintroduced into Europe in the fifteenth century. Nuremberg became the first major center of globe production in Europe - the earliest extant globe made there was a celestial globe made in 1444, and belonged to the mathematician and cardinal Nicolas of Cusa (1401-1464). The earliest surviving terrestrial globe from this time was made by Martin Behaim (1459-1506) in 1492, and depicted the known world, a conception that was to be indelibly changed that very year by Columbus's voyage to the New World. Like two-dimensional cartography, globe making flourished in the Netherlands in the sixteenth century as the Dutch expanded their exploration and sea trade. Over the course of the seventeenth century, the balance of power gradually shifted towards France, and by the end of the eighteenth century, English cartographers and globemakers were the most prominent.

Globemaking techniques and materials have drastically evolved since the earliest globes, made in the Classical world, which were painted directly onto solid spheres. Islamic and Chinese globes were almost always composed of a hollow spherical shell of metal upon which the geographical information was engraved. European globes were heavily influenced by earlier Islamic globes. From these they took many of their most basic features: the mounting of the sphere in a meridian ring, attached at the north and south poles; the setting of the whole within a horizon ring. Yet globemakers in Europe favored different methods and materials than their Islamic counterparts. Most Western globes from the sixteenth century on were made from a sphere composed of papier machĂŠ and plaster, which was then covered with strips of paper, called gores, upon which the cartographic images had been printed beforehand. In some cases, gores that were never assembled into a globe have survived, and some publishers even published them in book form, as finished works in and of themselves. The innovation of assembling globes from gores streamlined and facilitated the process, and remained the favored method of globemaking until the twentieth century. The method developed in response to a cultural movement that treated globes as symbols of status, education, and wealth. Starting with Lorenz Beheim's 1517 purchase of both a terrestrial and a celestial globe, early modern consumers generally bought pairs of globes, together representing the entirety of God's creation; a wealthy consumer could also purchase an armillary sphere, a three-dimensional model of the cosmos's geometry, which made explicit how the earth was tied inextricably to the heavens.

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Anders Akerman and Frederik Akrel Untitled (â&#x20AC;&#x153;Celestial Globeâ&#x20AC;?) and Globus Terraquerus Both published in Stockholm, 1780. Height (in stand) 37 in.; diameter 30 in. Estimate: $90,000 - 110,000

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Groundbreaking Swedish Globe Pair These globes, produced under the protection of the Swedish Academy by Anders Akerman, are monuments in eighteenth-century globe making. The Cosmographical Society founded in 1758 laid the foundations for the start of Swedish globe and map production. Akerman, an engraver by trade and one of the Society’s members, was almost single-handedly responsible for this development. The globes he produced were not merely copies of existing globes, but were drawn on the basis of new observations. Akerman was influenced by the scientific accomplishments of members of the French Academy, and like that learned society, the Swedish Academy actively supported the geographic activities of their members. For Akerman and his globes, the most influential of these projects was the comprehensive work on cosmography published in Uppsala in a collaborative effort by S. Insulin, the astronomer Friedrich M. Mallet, and the geophysicist and mineralogist Torbern Olaf Bergman. These academicians sought to promote map and globe making in Sweden through the Cosmographical Society, “Kosmografiska Sallskapet,” founded in 1758. As luck would have it, Akerman - an accomplished engraver with an interest in the mathematical sciences - was one of the Society’s members. With the financial backing of the Society, Akerman set up a workshop for the production of globes. His first globes, a terrestrial and a celestial one, were published in 1759. The scientific information for the terrestrial globe was provided by publications of the Academy members and others, whereas the celestial globe incorporated the latest available star catalogs of the English astronomer John Flamsteed and the French astronomer Nicolas-Louis de Lacaille. Flamsteed’s Catalogus Britannicus, published in 1725, was the first star catalog to be based on observations made with the aid of a telescope, and Akerman supplemented the information he gleaned from that work with data from Lacaille’s highly accurate catalog of 1756.

Akerman’s first pair of globes received the approval of the cosmographical society and was offered for sale at a price considerably less than that for foreign globes. With further funding from the society enabling him to take on two apprentices, Akerman continued the production of his globes. In 1762 he designed a pair with a diameter of 41/2 inches; four years later he produced a pair of globes with a nearly two-foot diameter. With the production of these globes, Akerman's workshop was under financial pressure despite several more subsidies. Commercially he was not doing well, probably because to serve the local Swedish market his globes had to be too inexpensive to allow financial so lvency to their maker. Akerman died in poverty in 1778. His workshop became the property of the Swedish state and Frederik Akrel, engraver and long-time assistant of Akerman, was appointed its head. When Akrel took over the workshop, its financial sponsorship also shifted, from the Cosmographical Society to the Royal Academy of Sciences in Stockholm. In 1779 Akrel published a new, revised version of the one-foot globes, incorporating the latest discoveries, including those of Captain James Cook, and in the ensuing years improved versions of the other pair of two-foot globes followed. The present pair represents an early improved version, published in 1780, of Akerman's largest and most impressive globes. The terrestrial globe in interesting from a cartographical point of view because it is one of the first modern maps to show the Torres Strait (between Australia and New Guinea). After its discovery in 1606, this strait had fallen into complete oblivion. Under the influence of the geographer Torbern Olaf Bergman, one of the founders of the Cosmographical Society, various thematic elements from physical geography were added to the map, such as the vegetation (woods), the direction of trade winds and monsoons, and the ocean currents.

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Gorgeous English Globe Pair

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Both of these gorgeous globes are constructed from twelve handcoloured engraved gores which are applied to a papier mache sphere. Many of the countries have coloured outlines and arrows indicate the trade winds and monsoons over the oceans; constellation figures are also colored. Both have brass hour and meridian rings, pointed screw on to the graduated brass meridian ring, and a horizontal ring printed with zodiac, calender scales, and compass directions. John Senex (fl. 1690-1740) cartographer and engraver worked in London since 1702. In 1728, Senex was made a Fellow of the Royal Society, and after this date added the abbreviation ‘F.R.S.’ after his name. After Senex’s death James Ferguson acquired the Senex copper plates for the gores at auction in 1755. He amended them but unfortunately due to debts had to sell them. Around 1756 he sold the plates on to Benjamin Martin. Subsequent to Martin, Dudley Adams also published a new edition of Senex’s globe.

John Senex A New Terrestrial Globe... and A New Caelestial Globe... Published in London, ca. 1756 Height (in stand); 17 in.; diameter 17 in. $60,000 -75,000

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Smith’s Stunning Globe Pair Smith's terrestrial contains the courses of the “most celebrated circumnavigators” and the celestial globe contains all the principal stars as calculated and detailed in the works of Wollaston, Flamsted, De La Caille, Havelius, Mayer, Bradley, Herschel, Maskelyne, and the Transition of the Astronomical Society of London. The globes are constructed of hollow papier-mache hemispheres which join along the equator and are covered with several thin layers of gesso plaster. Onto which are laid the hand-colored copperplate engraving gores on laid paper. Each sphere is placed in a fine mahogany tripod stand, at the top of which is the horizon ring encircling the circumference of each globe; horizon rings both with laid down printed paper displaying the months of the year and the signs of the Zodiac. The meridian rings are brass, engraved with longitude markings. The mahogany stands terminate in brass shoes and casters surrounding a central compass.

Charles Smith and Son Smith’s Terrestrial Globe and Smith’s Celestial Globe Both published in London, ca. 1825 Height (in stand) 43 in.; diameter 24 in. $40,000 - 50,000

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183

Remarkable & Rare French Globes These stunning globes were part of a group initially offered by Didier de Vaugondy (1723-1786) in 1751 as a subscription. He successfully reissued them in 1764 and in 1773, although it is thought that only approximately six globes now survive. Of these, only one other pair of terrestrial and celestial globes is known. Didier de Vaugondy became the leading publisher of French globes in the second half of the eighteenth century. His work became renowned not only for his affinity for and abilities in cartography, but also for his innovation in the mounting and presentation of globes. His skills earned him the honored position of “Géographe ordinaire du roi” and the invitation of Denis Diderot to contribute an essay to the first edition of Diderot’s Encyclopédie. Vaugondy produced a seven page treatise on the manufacture of globes describing each stage of the process, from the choice of wood to the glue used to attach the strips onto the globe. Along with his brother Martin, Didier de Vaugondy developed his cartographic skills in the workshop of his father on the quai de l’Horloge near the Louvre. Here, they published maps and atlases as well as re-editions of their great-grandfather Sanson’s publications. By the time he was twenty, Didier de Vaugondy published his first pair of globes. His most famous accomplishment is perhaps the royal commission he received for a pair of globes for the use of the Navy. These were the largest globes produced since those by Vincenzo Coronelli between 1688 and 1693 and were presented to and accepted by the Royal Academy of Sciences towards the end of 1751.

Didier de Vaugondy Globe celeste dressé par Ordre du Roi and Globe terreste dressé par Ordre du Roi Published in 1751 and 1772 respectively Height in stand 451/2 in.; diameter 18 in. $450,000 - 600,000 Guidance: Sold at The collection of Mr. & Mrs. Stephen C. Hilbert. Sotheby's May 24, 2007. Lot 40 Graham paid $450,000

From 1784 until his death in 1786, Vaugondy worked along with Nicolas Gabriel le Clerc and Dom Claude Bergevin on the project for a globe of eight pieds (102 inches) diameter. The globe is preserved at Versailles, although Vaugondy did not live to see it completed.

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The Venerable Newton Family The venerable Newton family of cartographers was the leading English globemaking firm of the early nineteenth century. The firm's history dates back to Nathaniel Hill of the mid-eighteenth century, who taught the art of globemaking to Thomas Bateman (fl. 1754-1781), who then trained John Newton (1759-1844), the patriarch of the Newton firm. John Newton began his firm in 1780, first publishing a reissue of a Nathaniel Hill pocket globe in partnership with William Palmer. Soon after the turn of the nineteenth century, Newton was joined in business by his second son William (1786-1861), changing the firm’s name to J.& W. Newton. From 1831 to 1841, Miles Berry, a civil engineer, was a member of the firm. After 1841, ownership passed to William Newton's eldest son William Edward Newton (181879). Alfred Vincent (1821-1900) also became associated with the firm, and it remained in operation by subsequent generations until the early twentieth century.

184

John and William Newton Newton’s New and Improved Celestial Globe and Newston’s New and Improved Terrestrial Globe Both published in London, 1820. Diameter 16 in.; height (in stand) 34 in. $50,000 - 60,000 Comparable guidance: Sotheby’s, December 6, 2011, lot 111, pair of 18” English globes by Newton, sold for GBP 87,650

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185

America’s First Globe Maker James Wilson was the first globe-maker in America. From humble beginnings as a Vermont farmer, he went on to establish the premier globe manufactory of the New World, building terrestrial and celestial globes similar to the London article but at a much cheaper price. Like many early American engravers, Wilson was largely self-taught. He traveled to Boston to learn engraving under John Akin, and eventually became an apprentice of Amos Doolittle. In 1810 he began producing his own globes, following the model of a pair of European celestial and terrestrial globes belonging to Mr. Miltmore of Dartmouth College. He began making thirteen inch globes in 1821 and in 1835 Cyrus Lancaster (having assumed leadership of the firm after the death of Wilson's two sons in 1833) brought out a new edition of the thirteen inch globe with the American eagle in the cartouche. During James Wilson’s extensive self-instruction in the art of globe making, he experimented little with methods of making backgrounds to which he would adhere the results of his engraving. He started out by creating a large sphere of solid wood, and covered it with paper and drew in the countries with pen and ink. He was not concerned with the construction of the globe and its mounting as much as he desired to become such a skilled engraver that one would not be able to tell the difference between a globe of his creation from the English models popularly used in the New World.

James Wilson and Cyrus Lancaster WIlson’s New Thirteen-inch Celestial Globe... and Wilson’s new American Thirteen-inch Terrestrial Globe... Published in Albany, NY, 1835. Height (in stand) 31 in.; diameter 17 in. $30,000 - 40,000

The terrestrial globe gives a definitive view of the earth and its explorations of the late eighteenth century. It shows Hawaii called Sandwich Islands or Owyhee with notes on the death of Cook in 1779 and with Hergest and two others in 1792. New Holland or Australasia not yet divided into provinces. In North America, Louisiana and Missouri are states but entire Northwest called Missouri Territory and Southwest called Internal Provinces. The celestial globe provides an equally definitive view of the heavens in the early nineteenth century. Ursa Major and Minor, Leo the Lion and Leo Minor; Cancer; Taurus the Bull; Pixis Nautic; the Mar Compass; Serpentarius; Virgo the Virgin; Cetus the Whale; Sagittarius the Archer; Bootes; Argonauvis the Ship; Corona Borealis and many other figures are depicted.

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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Miniature silver Terrestrial Globe After Oterschaden, Johannes (fl. 1580-1603) Germany, 1575-1600 (circa) Diameter: 2 1/2 inches $50,000 - 60,000 Guidance: Christies November 15, 2006. Lot 23. $102,276 A Beautifully Detailed 16th Century Miniature Globe This elaborate and finely engraved miniature globe shows an intricately detailed image of the world. The land shows mountains and rivers, named as profusely as space allows, and the small crowns denote kingdoms. The oceans are stippled and decorated with four sailing ships and three sea monsters. The globe is joined along the plane of the elliptic and holes at the North and South Poles originally held support pins. Several small texts are found, in particular in the Southern Continent below India, "Terra nove plane cognita Inventa Ao 1499" and by the Moluccas, "Insula nove inventa." The globe also names all the continents, Equator and tropics, the oceans and some islands.

Modeled on the work of Johannes Oterschaden, this rare and beautifully engraved miniature silver globe was probably made to form a part of a globe clock or elaborate armillary sphere. Elements of Oterschaden's geography almost certainly derive from Francois Demongenet's terrestrial globe of 1560. It is likely that the globe makers met while working in southern France, Oterschaden for the Bishop of Comminges and Demongenet at Vejoul in Franche Comte. In addition, it seems likely that Oterschaden was also in contact with the German globe maker Christoff Schniepp and Willem Nicolai at Leiden because their globes seem to share the same source of geography.

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Globe Terreste dresse par M. Bonne, Avec Privilege et Approbation de l'Academie Rle. des Sciences 1774 BONNE, Rigobert (1727-1795). Paris, 1775 12-inch diameter (standing 22 1/2 inches high) $60,000 - 70,000 Title in a decorative cartouche with some hand-colouring, made up of twelve engraved gores and two polar calottes; the graduated equatorial alternately shaded and numbered by 10 degrees, the tropics and polar circles shown with broken lines, meridian not marked but longitude 360 degrees for Canary Islands; red-edged meridian with engraved paper scales carrying degree scale for polar elevation, marking the climatic zones and scale for length of day, original paper hour-ring on possibly later card with hour-pointer, the red-edged circular horizon with engraved paper scales for the Houses of the Zodiac pictorially represented, calendar and thirty-two compass points; on a highly decorative wooden stand with gold floral motif painted on black composed of four turned columns united with cross-stretchers at a central column, on four bun feet. 187 An Exceptional Louis XV Terrestrial Globe showing all principle towns, rivers, roads and mountain ranges, coastlines with hatching and with further green handcolouring extending into the Oceans, Australia named Nouvelle Hollande and New South Wales marked with incomplete coastline with broken lines for interpolations which include Tasmania as a peninsula named Terre de Diemen, coastline of New Guinea broken in places, New Zealand shown but no Antarctic lands, Baye de l'Oiseau 16 janv. 1774. marked South-East of Madagascar, California named and shown as a peninsula, Western coast of America and Canada given but no detail inland, unnamed Manitoulin island shown in Lake Huron, no coast to North Canada, crude Alaskan outline, second cartouche to South Pacific A PARIS, Chez Lattre, Graveur ordre. de M. le Dauphin, de M. le Duc D'Orleans et de la Ville, rue S. Jacq. visa-vis la rue de la Parcheminerie. with decorative hand-coloured border.

The distinguished French engineer and Academician Rigobert Bonne achieved a considerable reputation as a cartographer, and it is his name that has been associated with the 6-, 8- and 12-inch globes rather than that of the engraver and publisher Jean Lattre (fl. 1722-1788), whose stock would later be purchased by CharlesFrancois Delamarche. This present one-foot diameter terrestrial represents the first and largest appearance of Bonne's coartography on a globe. In 1775 the famed astronomer Joseph Jerome le Francais de Lalande (1732-1807) completed a complementary celestial globe, also engraved by Lattre, and the two were advertised as a pair in a pamphlet published by Lattre, entitled Nouveaux globes celeste et terrestre, d'un pied de diametre, le celeste par M. de La Lande,... le terrestre par M. Bonne (Paris, 1775). Although Baie de l'Oiseau is marked with the date 16 January 1774, it was actually on the 6 January 1774 that Kerguelen officially took possession of the bay in the name of the King of France, in the course of his second voyage to the southern hemisphere. The gold floral motif bears a similarity to those found on two Jean Fortin pocket globes held at Greenwich (GLB0031 & GLB0045) from the same period. Dekker, E. Globes at Greenwich (Oxford, 1999); Stephenson, E.L. Terrestrial and Celestial Globes (Yale, 1921); Tooley, R.V. Tooley's Dictionary of Mapmakers (Tring, 1979).

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KEULEN, Joannes van (1654-1715) and Gerard van KEULEN. De Groote Nieuwe Vermeerderde Zee-Atlas ofte Water-Waerld. T'Amsterdam: Gerard van Keulen, 1706. Estimate: $700,000 - 900,000

2 volumes. Folio (25 4/8 x 15 6/8 inches). 2 engraved allegorical frontispieces HEIGHTENED IN GOLD, and 175 EXCEPTIONALLY FINE double-page engraved charts ALL WITH ORIGINAL HAND-COLOUR IN FULL, including 19 folding ("Oost Indien" and first "West Indische Paskaert" cropped at upper edge, second "West Indische paskaert" cropped at lower edge, one or two maps backed on japan paper). Contemporary Dutch speckled calf gilt, each cover decorated with borders of gilt roll-tools with armillary sphere tools at each corner, and central medallion of Atlas carrying the world. Provenance: each chart with manuscript title in French.

An Exceptionally rare and complete copy , with only one other atlas with 160 charts to appear at auction in the last 30 years. With 175 charts, coastal profiles, and plates, and as such ONE OF THE LARGEST SEA ATLASES COMPILED BY THE HOUSE OF VAN KEULEN. An intermediate state between Koeman Keu 20B (dated 1695 and containing 160 charts) and Keu 28 (dated 1709 and containing 185 charts), of which this atlas shares 110 and 135 respectively. Johannes van Keulen established himself in Amsterdam in 1678 and in 1680 he obtained a privilege from the States General of Holland and

West Friesland allowing him to print and publish maritime atlases and shipping guides. This privilege, which protected against the illegal copying of printed material, was especially important for the cartographer’s atlases, which were produced with extensive initial costs. Van Keulen named his firm “In de Gekroonde Lootsman” (In the Crowned Pilot), and began collaborating with cartographers Claes Janz Vooght and Johannes van Luyken. The firm would go on to become one of the most successful publishing firms in Amsterdam; and produce “the largest and finest marine atlases in Holland” (Koeman). Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com

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188 continued

In this atlas the five navigational books are divided by large double-page folding maps rather than allegorical frontispieces. All of the 19 folding maps are rare, but of particular interest are the "West Indische Paskaert" (two copies) first issued by Willem Blaeu in ca 1630, and of landmark importance as the first "sea chart depicting North America on the Mercator projection" (Burden). The "Oost Indien" or chart of the East Indies is a particular rarity. It was first published by Pieter Goos in ca 1660, and extends from the Cape of Good Hope to Japan: "a complete survey of Dutch expansion in the East Indies and takes into account Tasman's two voyages of exploration" (Schilder).

Weft Indifche Paskaert

Van Keulen's first atlas was his "Zee Atlas" with about 40 charts. "The culmination in the development of Dutch pilot books was reached with the publication of "De Nieuwe Groote Lichtende Zee-Fackelâ&#x20AC;Ś" in 1681... The work was immediately recognized as superior to anything else on the market and enjoyed a considerable reputation for accuracy and detailâ&#x20AC;? (Martin & Martin, 11). On the death of Joannes in 1704 the firm passed to his son, then his grandson, and on the death of Cornelis Buys van Keulen the name of the firm "was altered after much palaver into Gerard Hulsst van Keulen. The surviving son conducted the publishing business with more ambition than before. A considerable number of books appeared in the period 1778-1801. Greater activity was developed in the cartographic branch and new issues of the "Zee-Fakkel" again saw the light" (Koeman page IV 279). Cf Koeman IV Keu 20B & Keu 28.

Wassende Graade Paskaart

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A Complete Set of the First Editions of the Voyages of Discovery COOK, Capt. James (1728-1779) Estimate: $40,000 - 60,000 Guidance: Christie's New York, Apr 16, 2007, lot 120, $60,000 HAWKESWORTH, John (1715-1773). An Account of the Voyages undertaken by the Order of His Present Majesty for making Discoveries in the Southern Hemisphere, And successively performed by Commodore Byron, Captain Wallis, Captain Carteret, And Captain Cook, In the Dolphin, the Swallow, and the Endeavour. London: W. Strahan; and T. Cadell, 1773. 3 volumes, 4to (11 2/8 x 9 inches). With "A Description of the Cuts" (without "Directions for placing the cuts and charts"). Large folding maps of "Part of the South Seas" (without "The Straights of Magellan"), and 40 fine doublepage and or folding engraved plates and 10 full-page plates of views, flora and fauna, charts and maps particularly of the Society Islands (Tahiti etc), New Zealand and the eastern coast of Australia (some occasionallyheavy spotting and offsetting, and marginal staining). First edition. COOK, Capt. James (1728-1779). A Voyage towards the South Pole, and round the World. Performed in His Majesty's Ships the Resolution and Adventure, in the years 1772, 1773, 1774, and 1775 . In which is included, Captain Furneaux's Narrative of his Proceedings in the Adventure during the Separation of the Ships. London: W. Strahan and T. Cadell, 1777. 2 volumes, 4to., (11 2/8 x 9 inches). Engraved portrait frontispiece, large folding chart of the Southern Hemisphere and 30 fine double-page and or folding engraved plates and 32 full-page plates of views, flora and fauna, charts and maps, particularly of the Friendly Islands (Tonga), New Zealand, and the southernmost tip of America, one folding letterpress table (some occasional spotting, browning and offsetting). First edition.

COOK, James and James KING (1750-1784). A Voyage to the Pacific Ocean. Undertaken, by the command of His Majesty, for making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. London: G. Nicol, 1784. Atlas Volume: Folio (21 6/8 x 16 4/8 inches): one large engraved folding double-page chart “A General Chart of the Discoveries made by Capt.n. James Cook” (tears at folds), double-page chart of the “S.W. Coast of America and N.E. Coast of Asia” and 61 full-page plates of views, artifacts and portraits (some occasionally heavy spotting); 3 text volumes: 4to., (11 2/8 x 9 inches) with 24 engraved charts, coastal profiles and plans, most folding (some occasional spotting). First edition. Together 9 volumes, uniformly rebacked in an 18th-century style, contemporary calf covers (extremities worn, and one or two hinges weak). [Cook] was the first really scientific navigator, and his voyages made great contributions to many fields of knowledge” (Hill). “In three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than all his predecessors together had done. He was the first really scientific navigator, and his voyages made great contributions to many fields of knowledge” (Hill). Cook conducted his three voyages between the years of 1768 and 1779. During his expeditions, the British naval officer traversed the South Pacific three times, twice braving into the Antarctic Circle. He was the first European to make contact with the Eastern coast of Australia: “The date of Captain James Cook’s exploration of the eastern coast marks the beginning of a new era in the history of Australia. Cook took possession of the country for Great Britain. From the resemblance of its coasts to the southern shores of Wales, he called it New South Wales” (Jenks). First edition. Hill 783, 358, 361; Edward Jenks “The Great Events Vol. XVII p.238; Holmes 5, 24, 47; Mitchell Library Cook 648, 1216, 1552; Sabin 30934, 16245; 16250. Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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190 The Most Important Dutch Atlas of the 17th Century BLAEU, Joannes (1596-1673) Atlas Major, sive cosmographie Blaviana Estimate: $300,000 - 400,000 Amsterdam: Joannes Blaeu, 1662., 1662. 11 volumes, folio (21 x 14 inches). Latin text. 11 letter-press title-pages with engraved vignettes. 9 engraved frontispiece title-pages (without those for volumes II, III and XI), half-titles to volume X, part 2 (China), and 597 ENGRAVED MAPS, PLANS AND PLATES, most maps double-page, 3 folding, some full-page or in the text, including 9 plates of Tycho Brake's astronomical instruments, including one with his portrait, in volume I, views of Stonehenge and Avebury in volume V, 7 plates of the Escortai in volume IX, FINELY COLOURED THROUGHOUT IN A CONTEMPORARY HAND, INCLUDING FINELY COLOURED FRONTISPIECES AND SUBTITLES HEIGHTENED Guidance: Sold at Sothebyâ&#x20AC;&#x2122;s, London, May 10, 2007, lot 150 for GBP 264,000 or $435,600. WITH GOLD (some browning and spotting especially heavy in volumes about Germany, Belgium, England, Asia and Africa, one or two early marginal repairs occasionally touching the image, some marginal waterstaining). Contemporary Dutch gilt panelled vellum (spine of volume VI lacking 3â&#x20AC;? section of vellum, modern printed paper spine labels, a bit marked. Provenance: from the library of the Royal Scottish Geographical Society, with their small ink library label on some end leaves and the margins of some plates. This splendid, sweeping atlas represents the eleven-volume first edition of Johannes Blaeu's celebrated cartographic masterpiece, the "Atlas Maior", published in Amsterdam in 1662. With different volumes devoted to specific parts of the world, including Northern Europe; Northern and Eastern Europe; Germany; Netherlands; England and Wales; Scotland and Ireland; France and Switzerland; Italy; Spain, Portugal and Africa; Asia; and America. Blaeu lavished meticulous attention on every corner of the globe. No other atlas ever published was as costly, or had such an exalted place in society. The "Atlas Maior" was such a symbol of status that it became the traditional state gift presented by the Dutch government, its prestige owing to the remarkable standards of production involved. In terms of the quality of engraving, beauty of ornament, coloring, typography and paper, the atlas has no equal, and the maps were on the forefront of geographical knowledge and discovery. One especially significant volume is the "Atlas Sinensis", devoted to China and the Far East. Compiled by the Italian Jesuit Martino Martini, it represents the first atlas of China produced in the western world. The atlas of America, too, occupies a singular place in the history of cartography, for its twenty-three maps helped to shape contemporary conceptions regarding the geography of the New World more than almost any other source. Included in that volume is a general map of the continent, famed for its side panels that contain costumed figures and city views, as well as a distinguished series of regional maps.

The map of Virginia was the first version of John Smith's map of the area surrounding Chesapeake Bay to be published in continental Europe. The scope of the "Atlas Maior" as a whole was unprecedented, as was the lavishness of its decoration, which encompasses elaborate cartouches, often with costumed figures and the flora and fauna of the region described, decorative swags, garlands of fruit and coats of arms, all enlivened with rich color. The Blaeu family firm was founded by Willem Janzoon Blaeu (1571-1638) in 1596. He was eventually joined by his sons, Cornelius (1616-1648) and Joan (15961673). The firm became the most productive cartographic establishment in the Netherlands until it was destroyed by fire in 1672. The elder Blaeu initiated the great series of atlases that culminated in the "Atlas Maior", in which Joannes Blaeu incorporated much of the geographical knowledge bequeathed him by his father. This breathtaking atlas represents the zenith of the Golden Age of Dutch Cartography. Truusje Goedings, renowned specialist in Dutch colourists of the 17th-century writes of this copy: "All title-prints of this copy are extensively coloured with a lavish addition of gold. Especially the title-page of volume oneI is richly coloured and heightened with gold, with a rare overall app.

Cataloged by Kate Hunter Rare Book Department katehunter@aradergalleries.com

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New York, New York Evening Sale, Lots 191 - 250

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191

Thomas W. Whitley (Active 1835-1865) View of New York City from Hoboken, New Jersey, 1865 Oil on paper laid on panel; Paper size: 13 1/2” x 26 1/4; Handsomely framed; Signed and dated l.l. Estimate: $75,000 - 90,000

192

Nicolino Calyo (1799-1884) View of New York City as It Appeared on the Eve of the Fire, 1835 Gouache on paper; Paper size: 28” x 20” Signed, dated, and inscribed lower center and lower right Estimate: $90,000 - $110,000

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193

194

Frederick Catherwood and Henry Papprill New-York. Taken from the Northwest Angle of Fort Columbus, Governor’s Island; New York, 1846 Aquatint: plate size 161/2” x 261/2”; framed size 281/2” x 375/8” Estimate: $10,000 - 12,000

William W. Mather Geological Map of Long and Staten Island with Environs of New York; New York, 1842 Hand-colored Lithograph Paper size: 54" x 25"; Handsomely framed Estimate: $4,000 - 5,000 No Reserve Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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195 Nicolino Calyo (1799-1884) View of Lower New York from Jersey City Gouache on paper ; 12 1/2 inches high x 19 inches wide Handsomely framed in gilded frame of the period Estimate: $65,000 - 75,000

196 Nicolino Calyo (1799-1884) View of New York, Taken from Hoboken Gouache on paper ; Framed size: 17 7/8” x 22 5/8” Estimate: $15,000 - 20,000

197 Nicolino Calyo (1799-1884) The East River Looking Southwest, Blackwell’s Island In Foreground, The Navy Yard at Extreme Left Gouache on paper ; 12 1/2 inches high x 19 inches wide Handsomely framed in gilded frame of the period Estimate: $65,000 - 75,000

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198

199

John Ruben Smith View of Battery Park at Castle Garden, New York City, 1845 Oil on Canvas: framed size 20â&#x20AC;? x 24â&#x20AC;? Estimate: $6,000 - 7,000 No Reserve

Eduard Hildebrandt (1818-1869) N.Y. Harbor Watercolor on Paper; 10 x 7 inches Estimate: $8,000 - 10,000 No Reserve

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200 Rudolf Daniel Ludwig Cronau (1855 - 1939) 9 West 57th Street, New York, New York Paper size: 13 3/4 x 19 1/4 inches Handsomely framed; Watercolor and gouache on paper Signed lower left: (c) Rudolf Cronau Estimate: $12,000 - 15,000

201 Reginald Marsh (1898-1954) New York Skyline, 1937 Paper size: 19 x 13 inches Handsomely framed; Watercolor on paper Signed and dated lower right Estimate: $35,000 - 40,000

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202 Brooklyn, NY, 1854 Engraving by Wellstood & Peters, B.F. Smith, Junr., delineator, published by Smith, Fern & Co., New York, 1854. Handsomely framed Estimate: $12,000 - 18,000

203 C. Mottram and J.W. Hill New York View Modern restrike from the original steel plate; 40 x 59 1/4 inches; Handsomely framed Estimate: $2,000 - 3,000 No Reserve Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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204 Robert Havell, Jr. (1793-1878) Niagara Falls, 1878 11 x 15 1/4 inches; Handsomely framed Watercolor on paper Estimate: $7,000 - 10,000 No Reserve

205 Robert Havell, Jr. (1793-1878) Niagra Falls Oil on canvas; 29 x 40 inches; Handsomely framed London, circa 1830 Estimate: $20,000 - 30,000

206 Robert Havell, Jr. (1793-1878) Paddle Boat on the Hudson, c. 1830 Oil on artist’s board; 11 3/4” x 18”; Handsomely framed Estimate: $6,000 - 8,000 No Reserve

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207 New York Palisades Comprising nine paper panels, now mounted on three wood panels Each of the paper panels measure 74 1/2” high x 56 1/2” long Overall dimensions: 74 1/2” high x 169 1/2” long Estimate for the set of 3: $15,000 - 20,000

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Wade & Croome’s Panorama of the Hudson River from New York to Waterford Drawn from nature and engraved by William Wade New York: Published by J. Disturnell , 1847 Estimate: $4,000 - 5,000 No Reserve

Detail, 208

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209 Robert Havell, Jr. (1793-1878) Picnic Along the Hudson Oil on artistâ&#x20AC;&#x2122;s boar; Board size: 11 x 18 inches; Handsomely framed; London, circa 1830 Estimate: $3,000 - 4,000 No Reserve

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“Military Review at West Point” “Military Review at West Point” (one) 84” high x 41 1/2” wide; “Military Review at West Point” (two) 84” high x 55 5/8” wide; “Military Review at West Point” (three) 84” high x 41” wide.; Overall dimensions approximately: 84” x 139” Estimate: $8,000 - 10,000

210

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“Boston Harbor”, “Natural Bridge of Virginia”, and “Niagara Falls” Mounted on five wood panels “Boston Harbor ”(one) 84” tall x 48”wide; “Boston Harbor ”(two) 84” tall x 52 3/4”wide;“Boston Harbor ”(three) 84” tall x 46 1/2” wide “Natural Bridge of Virginia”84” tall x 63 1/2” wide “Niagara Falls” 84” tall x 21 5/8” wide Overall dimensions approximately: 84” x 232 3/8” Estimate: $15,000 - 20,000

211

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212

C. Bachmann View Looking South from Union Square, 1850 23 1/4 x 31 inches; Handsomely framed; Lithograph with original hand color; Published by Williams & Stevens 353 Broadway Drawn from nature and on stone by C. Bachman ; Lith of Sarony & Major 117 Fulton St, NY Estimate: $10,000 - 12,000

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Drawn & Etched by Thomas Hornor; Aquatinted by J. Hill Broadway, New-York. Showing each building from the Hygeian Depot corner of Canal Street to beyond Nibloâ&#x20AC;&#x2122;s Garden Etching and Aquatint; 33 x 41 inches; Handsomely framed; Published by Joseph Stanley & Co., New York, 1836 Estimate: $10,000 - 12,000

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215

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William Bridges (fl. c. 1800 - 1820) and Engraved by William Rollinson (1762-1842) Map of the Hudson between Sandy Hook & Sandy Hill With the post road between New York and Albany Copper plate engraving; 102 3/4 x 9 3/4â&#x20AC;?; Handsomely framed A.T. Goodrich & Co.: New York ; 1820 [1824] Estimate: $3,000 - 4,000. No Reserve

Published by Wm F. Link, 1878 Paper size: 107 x 5 1/2 inches Handsomely framed Lithograph with original hand color Estimate: $4,000 - 5,000 No Reserve

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216 William Birch (1755-1834) View from the Seat of Mr. John Stevens, Hoboken, New Jersey, c. 1808 Watercolor with pen and ink on paper 3 7/8 x 5 5/8 inches; Handsomely framed Estimate: $40,000 - 45,000

217 William Birchâ&#x20AC;&#x2122;s Original and Unique Drawing for his Engraving of New York City (lot 218) Detailed Watercolor View of New York City, c. 1801 Watercolor, with pen and ink and graphite on paper Paper size: 9 1/8 x 13 7/8 inches; Handsomely framed Estimate: $125,000 - 150,000

218 William Birch (1755-1834) The City of New York in the State of New York North America, c. 1803 Copperplate engraving with coloring 27 x 22 1/2 inches; Handsomely framed Estimate: $10,000 - 12,000

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219

220

Currier & Ives View of New York, c. 1860 Hand-colored lithograph; 19 1/2 x 13 1/2 inches; Handsomely framed Estimate: $3,000 - 4,000 No Reserve

William Burgis (?) Engraved by John Carwitham A View of Fort George with the City of New York from the S. W. Copperplate engraving with original hand color; Date depicted: ca. 1731-1736; published by Carington Bowles: London, ca. 1764 Handsomely framed Estimate: $15,000 - 18,000

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221

Pierre Charles Canot (1710 - 1777) after Captain Thomas Howdell A Southwest View of the City of New York in North America Engraving; London, 1768 16 x 21 1/2 inches; Handsomely framed Estimate: $16,000 - 18,000

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Pierre Charles Canot (1710 - 1777) after Captain Thomas Howdell A South East View of the City of New York in North America Engraving; London, 1768 16 x 21 1/2 inches; Handsomely framed Estimate: $16,000 - 18,000

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Nathaniel Currier (1813 - 1888) after Frances Palmer (1812 - 1876) View of New York Lithograph with Hand-color; New York, 1849. 14 3/4 x 19 1/2 inches; Handsomely framed Estimate: $7,000 - 10,000 No Reserve

Currier & Ives, after Charles R. Parsons and Lyman W. Atwater The Port of New York Lithograph with original hand-color; New York: 1878 Paper size: 36 1/2 x 26 inches; Handsomely framed Estimate: $12,000 - 15,000

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Published by George Stinson & Co. View of New York Lithograph with original hand color; Portland, Maine, circa 1870 11 1/2 x 15 1/2 inches; Handsomely framed Estimate: $3,000 - 4,000 No Reserve

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226

John Hill after William G. Wall New York from Governorâ&#x20AC;&#x2122;s Island From the Hudson River Portfolio Aquatint engraving with original hand color; New York, 1820 - 28 18 1/2 x 24 3/4 inches; Handsomely framed Estimate: $12,000 - 15,000

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227

John Montresor (1736 - 1796) A plan of the city of New-York & its Environs to Greenwich, on the North or Hudsons River, and to Crown Point, on the East or Sound River, Shewing the Several Streets, Publick Buildings, Docks, Fort & Battery, with the true Form & Course of the Commanding Grounds, With and without the Town . Survey'd in the winter, 1775 Hand-colored copperplate engraving; Peter Andrews, 1775 Estimate: $60,000 - 70,000

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228 The Largest 18th Century Map of New York State Claude Joseph Sauthier (1736-1802) A chorographical map of the province of New York in North America, Divided into counties, manors, patents, and townships; Exhibiting likewise all the private grants of land made and located In that province... Copperplate engraving with full original color Paper size: four panels, 37” x 27 1/2” Overall frame dimensions: 82” x 64 1/4” (apt 7’ x apt 5’) London: William Faden (engraver), 1 August 1779 Estimate: $30,000 - 40,000

229 William Faden A Plan of New York Island, with a part of Long Island, Staten Island, & East New Jersey… Copper-plate Engraving Frame Size: 39" x 32" Paper Size: 29" x 22" London, 1776 Estimate: $15,000 - 18,000

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230

Original Utopian View of Long Island's "Gold Coast” Morris Shriver View of Long Island 57 1/2” x 20 1/2” Handsomely framed Gouache on paper Inscribed lower right: Morris Shriver 1420 Chestnut St Phila. Estimate: $20,000 - 30,000

About the time Jay Gatsby was gazing across Long Island Sound, architectural artist Morris Shriver was producing this handsome, fascinating birds-eye elevation of the newly developing "Gold Coast" of Long Island. Concentrating on Kings Point (named for good reason) and the surrounding villages of Great Neck and Manhasset, Shriver incorporated great existing mansions (Walter P. Chrysler's) while imagining what the future landscape of this desirable setting might be. Less than an hour from New York City, the Gold Coast was already considered one of the "ritziest" addresses outside the City. Depicted in this unique painted elevation is the boat-filled Long Island Sound with Fairfield County, Connecticut in the background, and New York City to the west. Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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231

John Hill (1770 - 1850) William Wall (1792 -1864) New York from Weehawk Aquatint engraving with original hand color; New York, 1823; 19 1/2 x 27 1/2 inches; Handsomely framed Estimate: $9,000 - 10,000 No Reserve

232 Petrus Schenk (1660 - 1718) View of Nieu Amsterdam [New York City]' from Hecatompolis, sive Totius Orbis Terrarum Oppida Nobiliora Centum... From Hecatompolis, sive Totius Orbis Terrarum Oppida Nobiliora Centum; exquisite collecta atque eleganter depicta Etching on paper; Amsterdam: 1702; 10 x 12 inches; Handsomely framed Estimate: $7,000 - 8,000 No Reserve Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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Charles Huard (1874-1965) The Original 1905 Drawings for “New York as I Saw It” A Frenchman’s Impression of New York 100 Years Ago Each Drawing is Sold with a copy of ‘Comme Je l'ai Vu [New York as I Saw It],’

233

Mrs. S. in her Feathered Hat 6 3/4” x 5 1/4” Estimate: $1,000 - 2,000 No Reserve

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234

People at the Clubs 8 7/16 x 6 3/8 inches Estimate: $1,000 - 2,000 No Reserve

235

Engenue 8 7/16 x 5 1/2 inches Estimate: $1,000 - 2,000 No Reserve

3Lakawanna Station 5 x 8 1/2 inches Estimate: $2,000 - 3,000 No Reserve

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St. Paulâ&#x20AC;&#x2122;s Building 9 5/8 x 5 5/16 inches Estimate: $2,000 - 3,000 No Reserve

Riverside Park 8 3/4 x 6 7/8 inches Estimate: $2,000 - 3,000 No Reserve

238

Wash Day in Harlem 6 7/8 x 8 3/8 inches Estimate: $2,000 - 3,000 No Reserve

240

Peck Slip 6 1/2 x 7 3/4inches Estimate: $2,000 - 3,000 No Reserve

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241

242

City Hall 7 1/4 x 6 inches Estimate: $3,000 - 4,000 No Reserve

243

Chinese Man in the Doorway of a Tavern 9 5/16 x 5 3/8 inches Estimate: $3,000 - 4,000 No Reserve

The Majestic Theater 8 5/16 x 5 3/16 inches Estimate: $3,000 - 4,000 No Reserve

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246

Type on Broadway 8 5/16” x 5 1/4” Estimate: $1,000 - 2,000 No Reserve

Business Man 5 5 1/4” x 3 5/8” Estimate: $1,000 - 2,000 No Reserve

245

Vaudevillian Tramps 6 3/8 x 5 3/8 inches Estimate: $1,000 - 2,000 No Reserve

247

A Boat Keeper 7 x 4 7/8 inches Estimate: $1,000 - 2,000 No Reserve

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248 A Policeman 8 15/16â&#x20AC;? x 6â&#x20AC;? Estimate: $1,000 - 2,000 No Reserve

249

Female Golfer 12 5/16 x 11 5/8 inches Estimate: $3,000 - 4,000 No Reserve

250

Four American Women 6 7/16 x 8 1/8 inches Estimate: $1,000 - 2,000 No Reserve

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American & European Oil Paintings Evening Sale, Lots 251 - 282

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The included essays were written by William H. Gerdts, Professor Emeritus of Art History at the Graduate School of the City University of New York. He is known by members of the industry as the leading expert on American painting in the United States today. Dr. Gerdts is an expert in American Impressionism, and he is also well known for his work on nineteenth-century American still life painting. He is the author of over 25 books on American art. Some of the most recent are: “The Color of Modernism: The American Fauves” an essay published in 1997 for Hollis Taggert Gallery; “Impressionist New York,” Abbeville Press, 1994; & “Art Across America. Two Centuries of Regional Painting: 1710-1920,” 3 vols, Abbeville Press, 1990. For additional essays written by Dr. Gerdts, please contact 212-628-7625.

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252

A. Gabriel (20th Century) R.R.S. (National Antarctic Exploring Vessel) Discovery moored on the Embankment 20 x 15 3/4”; Handsomely framed Oil on canvasboard Estimate: $6,000 - 8,000 No Reserve

Jan Claesz Rietschoof (Hoorn 1651-1719 Hoorn) Oil on canvas Canvas size: 33” x 48”; Handsomely framed Estimate: $10,000 - 12,000

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253 Dean Wolstenholme Jr. A Pair of Hunting Scenes: The Hunt and After the Hunt Oil on panel 14â&#x20AC;?by 18â&#x20AC;? framed Estimate: $6,000 - 8,000 No Reserve

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254

Robert Havell Junior (1793-1878) At the Waterâ&#x20AC;&#x2122;s Edge Oil on paper, laid down on board Board size: 8 1/4â&#x20AC;? x 11 1/4â&#x20AC;?; Handsomely framed Provenance: Family of Robert Havell Junior Estimate: $6,000 - 7,000 No Reserve

Both Robert Havell's artistic career and his residency partition into two very different divisions with only a minimum of overlap. He was born into a family of artists and engravers I Reading, England, and early on mastered the art of engraving, working with his father as an engraver by the early 1820s. He attained such expertise that around 1827, while employed by the prestigious london publishing house, Colnaghi and Company, Havell was chosen by John James Audubon, then in England, to reproduce the latter's famous bird paintings as engraved hand-colored aquatints. Havell worked on this immense project for the next eleven years, even while finding time to illustrate a number of other books. Havell was one of numerous painters associated with the Hudson River School who not only painted the river and its valley but also resided there. From his residence there, and later in Tarrytown, he painted pictures of life on and along the river, emphasizing the harmonious and complementary domestication of the land. While may of Havell's paintings are panoramic views of the communities on both sides of the Hudson and the interesting landscape formations of the area, he also painted more intimate scenes such as At the Water's Edge. The purpose of such a painting is not documentary, but rather to evoke the beauty and tranquility that had set in along the Hudson River by mid-century. Figures sit and stroll by the river path, farm animals approach the stream, and different vessels ply their routes along the placid river. Havell worked in a bright, cheerful palette, and unlike his fellow artists of the Hudson River School, Havell applied his paints in a quietly dashing manl'1i!t., which added a gentle exuberance to this intimate scene of country life-the environment which the artist and his family enjoyed themselves. - William H. Gerdts Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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Robert Havell Junior (1793-1878) Double Sided Painting: Cattle Watering [top] & Morning South Wales [bottom] Gouache, watercolor and pencil on board; oil on paper, laid down on board verso Board size: 10â&#x20AC;? x 12â&#x20AC;?; Handsomely framed Inscribed recto on a laid paper label: Morning South Wales Rbt. Havell Estimate: $6,000 - 8,000 No Reserve

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256 Robert Havell Junior (1793-1878) Cow Herders Oil on panel Panel size: 7” x 9”; Handsomely framed Provenance: Family of Robert Havell Junior Estimate: $4,000 - 6,000 No Reserve

257 Robert Havell Junior (1793-1878) Hudson River Valley Oil on canvas Oil on paper, laid down on board Board size: 11” x 18”; Frame size: 17 1/4” x 24 1/8” Verso: pencil sketch of houses and an inscription by Harry Peck Havell in 1909 which reads: Robert Havell’s home, Havell’s Lane, Sing Sing, New York Estimate: $10,000 - 12,000

258 Robert Havell Junior (1793-1878) After the Deer Hunt Oil on canvas Canvas size: 25” x 33”; Handsomely framed Estimate: $10,000 - 12,000

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Maurits Ernest Rudolph Hugo van den Kerkhoff (Philipine 1830 - 1908 Malang) View of a Kampong with Possibly the Smeroe in the Background 15 1/2 x 11 3/4 inches; Handsomely framed Oil on panel Signed lower left: M.v.d. Kerkhoff Estimate: $18,000 - 25,000

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Samuel Jepperson (1855-1931) Lake Detroit Oil on canvasboard Canvasboard size: 9 1/2â&#x20AC;? x 14â&#x20AC;?; Handsomely framed Signed with initials l.l.: SJ ; Titled and signed recto Estimate: $1,000 - 2,000

Attributed to Giovanni Schranz Maritime Scene Oil on canvas Framed: 23 x 15 inches Estimate: $4,000 - 6,000 No Reserve

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262

Aaron Harry Gorson Industrial Landscape Oil on Canvas: framed size 20 1/4 x 24 1/4 inches Signed Lower Right: A H Gorson Estimate: $5,000 - 7,000 No Reserve

Gorson was born in the industrial city of Kovno (now Kaunas) in lithuania when that region was still a province of imperial Russia; (Kaunas was later the capital of lithuania between the two World Wars). In 1888, Gorson emigrated to the United States, joining his brother in Philadelphia where he studied, first at the Spring Garden Institute and then from 1894-98 at the Pennsylvania Academy of the Fine Arts under Thomas Anshutz; ironically, Gorson's teachers finest, best-known, but most atypical work is the industrial figure painting Ironworkers Noontime (Fine Arts Museums of San Francisco). With the financial support of his patron, Rabbi Leonard Levy, whose portrait he had painted, Gorson was able to further his artistic education in Paris in 1900 at the Academies Julian and Colorossi, and after his return to Philadelphia in 1901, he followed his patron to Pittsburgh in 1903, where he resided until the early 1920s. Though he had earlier practiced primarily as a portrait painter, it was in Pittsburgh that Gorson found his metier, with both daytime and nighttime industrial scenes of the coal and steel plants built along the Monongahela River in Pittsburgh. Gorson was able visually to elevate the industrial landscape to a level of beauty, sometimes concentrating upon the complexity of the buildings and smokestacks of the mills, and at other times, as here in Industrial Landscape, contrasting the power of industrial production with the beauty of nature-the flat river bank, with trees, at the left, and the flow of the wide waters-so that the soaring white smoke of the mills, both gray and white, contrasts with broad horizontal cloud formations. Gorson himself wrote that: "Smoke itself I think is a most graceful thing for its forms and quality of texture, its delicacy of color and vitality of movement." Gorson's industrial landscapes remained prized works of art throughout his lifetime in Pittsburgh and continue to be sought after today, now on a national basis. In recent years, there has been renewed appreciation of this distinct aspect of American visual culture, and Gorson's art, therefore, has become especially prized. - William H. Gerdts Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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263

Edwin Lord Weeks (1849-1903) Ajmere Oil on Canvas Framed size: 19” by 26” Estimate: $20,000 - 25,000

264

John Frederick Herring Jr. (1815-1907) The Plough Team Oil on Canvas Framed 24 1/2 x 29 1/4 inches Signed and dated “J F Herring 1851” Estimate: $20,000 - 25,000

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Thomas Hill (1829-1908) Westward View from Union Point, Yosemite Valley Signed â&#x20AC;&#x153;T.Hillâ&#x20AC;? (lower left). Oil on board laid on board. 14" x 21" (21" x 28" framed). Estimate: $60,000 - 70,000

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266

Thomas Hill (1829-1908) Riders in Yosemite Oil on canvas 24 1/4â&#x20AC;? x 20 1/4â&#x20AC;? Signed and dated l.r.: T. Hill 1903 Provenance: Private Collection, Ferneley, Nevada Estimate: $60,000 - 80,000

Thomas Hill and William Keith are considered today the two finest landscape painters active for many years in California in the nineteenth century. From the 1860s on, the principal scenic attraction of California, for artists and visitors alike, was Yosemite Valley, the subject of every professional landscape painter who traveled to or lived in California, but it was Thomas Hill who gained the reputation as "The Painter of Yosemite", ultimately creating over 5,000 paintings of this New World "Garden of Eden." Hill was born in Birmingham, England, but came with his family to the United States in 1844, settling in Taunton, Massachusetts. His art studies began in 1853 in Philadelphia at the Pennsylvania Academy of the Fine Arts. But in 1861, seeking a milder climate, Hill moved to San Francisco; in 1865 he first visited Yosemite with the landscape painter, Virgil Williams and the photographer, Carleton E. Watkins. In 1866 Hill exhibited a Yosemite scene at the National Academy of Design in New York, and in the late spring of that year he went to Paris, where through the study of the work of the French Barbizon Masters he adopted a more painterly mode which he successfully combined with sharp naturalist observation. On returning to the United States, Hill lived from the late spring of 1867 to early 1872 in Boston, during which time he produced one of his two great ten foot Yosemite masterworks, Great Canyon of the Sierras-Yosemite (Crocker Art Gallery, Sacramento). On his return to San Francisco in 1872, he became active in the San Francisco Art Association, formed only the year before, and highlighting his career during the art boom of the 1870s in California, he produced in 1876 his second ten footer, Yosemite Valley (From Below Sentinel Dome, as Seen from Artist's Point) (The Oakland Museum), which had been commissioned by Governor Leland Stanford. The painting was exhibited at the Centennial Exposition in Philadelphia that year, where it was one of only twelve out of four hundred American works of art to be given an award by the international jury of the Centennial. Hill also painted scenes of the Sierra Nevada Mountains, the Grand Canyon, Yellowstone, and Alaska; the most celebrated work of his career is a huge, multi-figure painting, Driving of The Last Spike, (1875-79, California State Railroad Museum, Sacramento), documenting the completion of the Union Pacific Railroad, the first transcontinental railroad in the country. Once back in California, Hill made a number of summer sketching trips to Yosemite, and in 1882 applied to the Park commissioners to build a studio there, which was completed the following year. In 1884, however, this first Yosemite studio was demolished by a storm, and Hill settled instead near the Wawona Hotel, the former Clark's Station which had been set up by Galen Clark and opened in May, 1870; Clark had, for forty years, been known as "the guardian of the Valley." Clark's was a stagecoach station built to serve as a stop for visitors between the Yosemite Valley and the Mariposa Grove of giant trees-referred to as "the crowning glory of the Yosemite country." The Washburn brothers, Edward, John, and Henry, purchased the property in 1874 and renamed it Big Tree Station. In 1882, they changed it to what was deemed a more appropriate name "Wawona," which Galen Clark suggested to them meant "Big Tree" in the language of the Native Americans. The majority of Hill's paintings of the Valley of Yosemite are horizontal, panoramic images though he also created a significant number of vertical paintings similar in composition to Riders in Yosemite; occasionally he turned to the right and there exist a large group of vertical canvases concentrating only on Bridal Veil Falls. - William H. Gerdts

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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James Everett Stuart, California Artist (1852-1941) Approaching Storm: The Devils Punch Bowl, Yellowstone National Park Signed verso â&#x20AC;&#x153;J.E. Stuart July 18, 1885â&#x20AC;? Oil on canvas 18 x 30 inches canvas size Estimate: $6,000 - 8,000 No Reserve

James Everett Stuart was a painter especially associated with California, though in fact, he painted throughout much of the West, and is celebrated especially as an artist of both Alaska and Oregon. He was also one of the most prolific artists in the history of American art; he is credited with painting more than 5000 pictures. This must certainly be due, in pat to his exceptionally long life, and to his ability to paint quickly though not necessarily formulaically, but also to the combination of speed and character of his work. In addition, some of his pictures appear little more than almost unfinished sketches while others constitute complete scenes that have caught the artist's attention. Though the California State Library in Sacramento has a tremendous amount of material on Stuart, including correspondence and diaries, the artist's life and art has yet to become the subject of serious study or of a major exhibition James Everett Stuart was born near Bangor, Maine; some authorities suggest Dover, Maine, where Stuart later painted extensively. On his first trip to Yellowstone in 1885, Stuart camped for several weeks, filling his sketchbooks for studio paintings. There he found not only appealing subject matter but also avid fellow enthusiasts who wanted pictorial reminders of their own experiences.. The following year, Stuart secured a pass from the Northern Pacific Railroad to explore the Park in return for paintings. During the following years Stuart would return to Yellowstone to sell his pictures to tourists at the "Art Gallery" set up at the Mammoth Hot Springs Hotel. Pictures of the geysers by Stewart are known from 1885 through at least 1893, and Stewart ceased his summer visits to Yellowstone only in 1899. Approaching Storm, Teakettle Spring, Yellowstone National Park, is an especially significant work. First, of course, it was painted on the artist's initial visit to the Yellowstone, thus recording his immediate reaction to the magnificent if strange, weird, and wonderful scenery. Secondly he has enhanced the spectacle, not only through his manipulation of rich color contrasts of pink and green, but in positioning the geysers against a powerful storm, so that the sky offers a background of explosive golden miasma and nearly pure dark, dramatic weather effects. The work was formerly known as Approaching Storm, Devil's Punch Bowl. That name, however, was used generally for many of the numerous hot springs in Yellowstone, but the specific locale is Teakettle Spring. The green spring in the foreground could be anyone of a number of nearby hot springs, most likely the present Green Dragon Geyser, which gets its name from the boiling green water it shoots up into the sky. These features are in the upper Geyser Basin which also houses Old Faithful nearby. Even Thomas Moran, the master of Yellowstone imagery, never captured in the Park such an extraordinary combination of the four elements--earth, water, fire, and smoky air, as has Stewart in this transcendent image. - William H. Gerdts Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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John Nost Sartorius Breaking Cover, 1819 Oil on panel 21" by 25" framed Estimate: $15,000 - 20,000

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269 Attributed to Thomas Staunton St Clair (1785 - 1847) Natives on the Island of St. Vincent, West Indies Signed or inscribed l.l.: St Clairâ&#x20AC;Ś and inscribed verso: St Vincent 1835 Oil on panel 16 x 12 Â˝ inches Estimate: $8,000 - 10,000 No Reserve

270 James Archer (1823 - 1904) Mountain Range, 1890 Oil on Canvas 20 1/2 x 12 1/2 Estimate: $1,000 - 2,000 No Reserve

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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271

George Henry Durrie (1820-1863) View of East Rock, New Haven Oil on canvas Canvas size: 20 1/4” x 25 1/4”; Handsomely framed Estimate: $30,000 - 50,000

George Henry Durrie achieved considerable success during his all-too-short life in his native Connecticut. Subsequently, he was pretty much forgotten until a descendant wrote an article about him in 1933, which in turn may have been induced by a renewed interest beginning in the 1930s in the popular lithographs produced from the 1850s on by the firm of Currier and Ives. After that there was a spate of further research, as well as articles and art exhibitions in the following decades, culminating in the definitive study of Durrie by Martha Young Hutson in 1977. Perhaps due to the comprehensive nature of Hutson's publication, and. Durrie's fixed place in the firmament of mid-nineteenth century American art, there has been little further study of Durrie's work, but he is now represented in nearly all the major public institutions which feature American painting, as well as many important private collections.

painter. Durrie subsequently traveled through both Connecticut and New Jersey as an itinerant but accomplished portraitist; while maintaining residence in Connecticut, he found a very receptive audience for his work in Freehold, New Jersey, where he was active from 1840-44. The following year he was painting at various towns in New York, Connecticut, and in Petersburg, Virginia, where again he appears to have developed a following, for he returned through each year through 1847. By 1845, however, Durrie had begun to paint winter landscapes which he exhibited in New Haven, and by the summer of 1847, he had both abandoned itinerancy for a stable life in New Haven, and turned away from portraiture to specialize in landscape and genre painting. In 1853, Durrie built a home in his native city, and the next year established a studio there. He remained in New Haven until his death, ten years later, except for a foray in New York City where he opened a studio or business outlet for a year in 1857.

Durrie was born in New Haven, Connecticut; in 1839, he and his brother, John, began a two-year period of study with Nathaniel Jocelyn, New Haven’s leading portrait

- William H. Gerdts

Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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James Everett Stuart, California Artist (1852-1941) Grand Geyser : Upper Guyser Bacin, Yellowstone National Park Signed verso “J.E. Stuart” Oil on canvas Estimate: $7,000 - 9,000 No Reserve

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273

Rosa Bonheur (French, 1822-1899) Sheep grazing in a meadow Oil on canvas Canvas size: 14 1/2”” x 21”; Handsomely framed Signed l.r.: Rosa Bonheur; Stamped with Vente seal on the stretcher Estimate: $10,000 - 12,000

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274

275

George Inness Jr. (1854-1926) Angler in a Pastoral Landscape Canvas size: 12" x 18"; Handsomely framed Signed, l.r. "Inness Jr." Estimate: $10,000 - 12,000

Thomas William Jones (1798-1860), Grouse Shooting Oil on canvas Estimate: $10,000 - 12,000

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Frank Vining Smith (1879-1967) Grouse Over Marshland Oil on board Signed l.l.: Frank Vining Smith Image size: 18 x 26 inches; Handsomely framed Estimate: $10,000 - 12,000

Charles Wimar (1828-1861) Maiden Rock on the Mississippi from the North, c. 1850 Oil on canvas Canvas size: 15â&#x20AC;? x 30â&#x20AC;? Estimate: $20,000 - 25,000

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Henry Arthur Elkins The Distant Rockies, 1867 Oil on canvas; Canvas size: 20â&#x20AC;? x 30â&#x20AC;? Estimate: $6,000 - 8,000 No Reserve

Elkins was born in the small town of Vershire, Vermont, but at the age of nine, his family settled in Chicago. Artistically self-motivated, he appears to have had no training, though some sources even suggest, surely incorrectly, that he was a pupil of Bierstadt, to whose art, however, he remained indebted. (Several writers imply a few lessons with Bierstadt, while one newspaper columnist in the Georgetown [Colorado] Courier, a week before the artist's demise in that town in 1884, even reported that Elkins was present in 1865 when Bierstadt first began his sketches for his great painting, Storm in the Rocky Mountains (1866; The Brooklyn Museum). The present work, which must have been one of his first completed pictures created after his initial travels to the West, very much establishes Elkins's distinctive artistic voice, independent of the expected sources. As in a good number of later canvases, The Rocky Mountains are seen only in the distance, and the focus is upon the open, uninhabited landscape, a true wilderness scene with the concentration upon the foreground of a placid lake surrounded by tall conifer trees, some of which reach high up toward the top of the canvas. Like the Rocky Mountain panoramas that he and his colleagues painted, this painting is also one of wilderness and discovery, but a landscape which offers entry into the vast panorama of the Rockies and the West. The foreground lake is a fairly common motif in Elkins's Western scenes, but the emphasis here upon the undiscovered western landscape, with the Rockies far in the distance, is unusual even for Elkins, and a daring departure from the format of most Western landscapes of its period The Distant Rockies may be an "assigned" title; Elkins often preferred titles more generic and/or poetic rather than identifiable, such as Morning in the Valley, The Crown of the Continent, and The Thirty-Eighth Star. And in fact, it was noted regularly in newspaper reports that, while Elkins based his paintings on sketches he made of specific scenery, his final compositions tended to be amalgams which glorified the wonders of the West, and tended to avoid specificity-the press even referred to them as "composition pictures." This, actually, became increasingly true also of the work of his idol, Alfred Bierstadt, who also chose such a formula for his Rocky Mountain and California scenes. Very much in keeping with Elkins aesthetics is the contrast between the darker earth tones on the expansive foreground, and the soft blues and pinks in the distant mountains and their enshrouding atmosphere. Elkins paintings were shown to acclaim in Denver, and reviews of subsequent exhibitions of his pictures in Chicago were often reported in Denver newspapers so that his art remained appreciated throughout his short lifetime. - William H. Gerdts Historic Maps, Rare Books, Natural History Engravings & Watercolors, Color Plate Books, American and European Paintings

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Leslie Carr Untitled Train Oil on Canvas 27 1/2 x 24 inches; Handsomely framed Estimate: $1,000 - 2,000 No Reserve

Arthur William Best (American 1859 - 1935) Grand Canyon Oil on Board Signed L.R.: A.W. Best 10 x 20 inches; Handsomely framed Estimate: $3,000 - 4,000 No Reserve

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281

Frederick Ferdinand Schafer (1839-1927) In the California Sierras, c. 1880 Oil on canvas Canvas size: 18â&#x20AC;? x 28â&#x20AC;?; Handsomely framed Signed l.l.: F. Schafer Estimate: $15,000 - 20,000

Soon after the Gold Rush of 1849, San Francisco developed into one of the most sophisticated and cultured cities in the United States. The arts, particularly thrived among painters in the Bay area, and while there were very able portraitists, and other painters who specialized in still life, genre, and even history painting, it was the magnificent scenery of Northern California, Oregon, and Washington that attracted the most talented of artists. Certain great volcanic peaks were the subjects of numerous paintingsMount Shasta in California, Mount Hood in Washington, and Mount Tacoma (late Ranier) in Washington)--plus nearer to home, across the Bay, Mount Tamalpais. Furthermore, Yosemite, with the great natural formations in the Valley and the nearby Redwood forests, began to attract tourists by the mid-1850s, and artists began to explore the region in countless canvases by 1863. That year, the great Eastern painter, Albert Bierstadt visited California and from that experience began to create a great demand for Yosemite subjects among Eastern collectors too, already familiar with photographs of the area. Not surprisingly, a formidable school of landscape painters developed in Northern California, artists who were supported not only by local art orga-

nizations but also by extremely wealthy California patrons who were developing the railroads that linked east and west. The major figures, then and now, whose work was and is particularly sought after are William Keith and Thomas Hill, but in their wake, were a host of other exceptionally talented landscape painters. These artists sometimes painted more intimate forest interiors and costal scenes, but devoted their attention primarily either to the individually famous mountain peaks or to the broad range ofthe mountain territory in Northern California. Frederick Ferdinand Schafer was one of the finest of the many artists to exploit that mountainous scenery. He was born in Bruanschweig, Germany, and was a fully developed painter before he emigrated to the United States in 1876. This was, in fact, a very propitious time for his arrival, for the 1870s was the great decade of Northern California art patronage, and during his next four decades, Schafer is believe to have painted about 500 paintings. - William H. Gerdts

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William James Bennett City of Richmond, Virginia from the Hill Above the Waterworks Published by Lewis P. Clover, 1834; After a painting by G. Cooke Handcolored aquatint Sheet size: 28 1/2 x 21 1/2 inches; Handsomely framed Estimate: $20,000 - 30,000 Guidance: Northeast Auctions February 23-25, 2007. Lot 445. $60,320

Illustrated: Richmond Virginia in Old Prints 1737-1887 text by Alexander Wilbourne Weddell, Associate Editor John Lee McElroy, Foreward by Douglas S. Freeman, published under the auspices of the Richmond Academy of Arts, Johnson Publishing Company, 1932, p. 79-81

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Terms & CondiTions This catalogue, as amended by any posted notices during the sale, together with the purchaser's registration statement, is Guernsey's and the Consigner's entire agreement with the purchaser relative to the property listed herein. The following conditions of sale are the only terms and conditions by which all properties are offered for sale. The property will be offered by us as the agent for the Consigner unless the catalogue indicates otherwise. By bidding at auction, whether present in person or by agent, by written bid, telephone, internet or by other means, the buyer agrees to be bound by these Conditions of Sale. 1. All properties are sold as is, and neither we nor the Consigner make any warranties or representations with respect to any lot sold including but not limited to the correctness of the catalogue or other description of the origin, physical condition, size, quality, rarity, attribution, authorship, importance, medium, provenance, exhibitions, literature or historical relevance of the property, and no statement anywhere, whether oral or written, shall be deemed such a warranty or representation. All sizes listed are approximate and listed in inches, unless otherwise specified. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. WE AND THE CONSIGNOR DISCLAIM ANY AND ALL WARRANTIES, EXPRESSED OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTY OF MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE. NO WARRANTIES ARE MADE THAT ANY OF THE MERCHANDISE COMPLIES WITH ANY APPLICABLE GOVERNMENTAL RULES, REGULATIONS OR ORDINANCES OF ANY KIND OR NATURE WHATSOEVER. Neither Guernsey's as agent nor the Consigner is responsible for any faults or defects in any lot or the correctness of any statement as to the authorship of any origin, authorship, date, age, attribution, genuineness, provenance or condition of any lot. 2. A buyer's premium of 22% will be added to the purchase of all lots in the sale. This premium is payable by the purchaser as part of the total purchase price. Guernsey's also receives a commission directly from the Consigner. 3. We reserve the right to withdraw any property before the sale. 4. Unless otherwise announced by the auctioneer, all bids are per lot as numbered in the catalogue. 5. All bids placed, and all payments made must be in U.S. dollars drawn on a U.S. Bank. 6. Payments are due promptly at the conclusion of the auction, and in the case of absentee and internet bidders, within 10 days of receipt of invoice. 7. We reserve the right to reject any bid. The highest bidder, acknowledged by the auctioneer, will be the purchaser. In the event of a dispute between bidders, or in the event of doubt on our part as to the validity of any bid, the auctioneer will have the final discretion whether to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sale records are conclusive. Although in our discretion, we will execute other order bids or accept telephone bids as a convenience to clients who are not present at auctions,

we are not responsible for any errors or omissions in connection therewith. 8. If the auctioneer decides that any opening bid is below the value of the article offered, he or she may reject the same and withdraw the article from sale, and if having acknowledged on opening bid, he or she decides that any advance thereafter is insufficient, he or she may reject the advance. 9. Lots marked with o immediately preceding the lot number may be offered subject to a reserve, which is the confidential minimum price below which such a lot will not be sold. We may implement such reserves by bidding on behalf of the Consignor. In certain instances the Consignor may pay us less than the standard commission rate where a lot is "bought in" to protect its reserve. Where the Consignor is indebted to us or has a monetary guarantee from us, and in certain other instances where we or any affiliated companies may have an interest in the offered lots and the proceeds there from other than our commission, we may bid therefore to protect such interests. Guernsey's may act to protect the reserve by bidding through the auctioneer. The auctioneer may open bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve either by placing consecutive bids or by placing bids in response to other bidders 10. On the fall of the auctioneer's hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer, subject to fulfillment by such bidder, of all the conditions set forth herein, and such bidder thereupon a) assumes full risk and responsibility thereof, but not limited to, insurance, fire, theft, removal and storage or damage from any and all causes, and b) will pay the full purchase price thereof or such part as we may require. In addition to other remedies available to us by law, we reserve the right to impose a late charge of 1 1/2% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. REGARDING ANY PURCHASER WHO IS REPRESENTED BY A BIDDER: BIDDERS ARE PERSONALLY AND INDIVIDUALLY RESPONSIBLE FOR ANY OBLIGATIONS OF THE PURCHASER SET FORTH IN THE TERMS AND CONDITIONS OF SALE. If any applicable conditions herein are not complied with by the purchaser, in addition to other remedies available to us and the Consigner by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, we at our option may either, a) cancel the sale, retaining as liquidated damages all payments made by the purchaser, or b) resell the property at public auction without reserve, and the purchaser will be liable for any deficiency costs including handling charges, the expenses of both sales, our commissions on both sales at our regular rates, reasonable attorney's fees, incidental damages, and all other charges due hereunder. In the event that such a buyer pays a portion of the purchase price for any or all lots purchased, Guernsey's shall apply the payment received to such lot or lots that Guernsey's, in its sole discretion deems appropriate. In the case of default, purchaser shall be liable for legal fees and expenses. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral security for such purchaser's obligations to us, any property in our possession owned by such purchaser. We shall have the rights afforded a secured party under the New York Uniform Commercial Code with respect to such property and we may apply against such obligations all monies held or received by us for the account of, due from us to, such purchaser. 156

At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or, in the case of bank or cashier's checks, we have confirmed their authenticity. Upon collection of funds, purchaser shall receive a bill of sale for the concerned items of merchandise. 11. Unless exempted by law, the purchaser will be required to pay New York state and local sales tax or any applicable compensating use tax of another state on the total purchase price. Deliveries outside the state may be subject to the compensating use tax of another state. Where duty or collection is imposed on Guernsey's by law, it will require payment of these taxes. 12. These Terms and Conditions of Sale as well as the purchaser's and our respective rights and obligations thereunder shall be governed by and construed and enforced in accordance with the laws of the State of New York. By bidding at an auction, whether present in person or by agent, order bid, telephone or by other means, the purchaser shall be deemed to have consented to the exclusive jurisdiction of the State of New York, with exclusive venue in the County of New York. 13. We are not responsible for the act or omissions of carriers or packers of purchased lots, whether or not recommended by us. Packing and handling of purchased lots by us is at the entire risk of the purchaser. In no event will our liability to a purchaser exceedthe purchase price actually paid. 14. Estimates do not represent any opinion or guarantee of actual value or ultimate sale price. Actual prices realized for items can fall below or above this range. They should not be relied upon as a prediction or guarantee of the actual selling price. They are prepared well in advance of the sale and are subject to revision. 15. Should any disputes arise pertaining to purchases at this auction or any other matters relating to the auction, such disputes shall be brought in the courts of the State of New York. Venue shall be within the County of New York. 16. Any claim regarding a purchase must be made by the successful bidder to Guernsey's, in writing, certified mail, return receipt requested, within 90 days of the final day of the live auction. Thereafter, all claims shall be time-barred. It is Guernsey's general policy, and Guernsey's has the right to have the purchaser obtain, at the purchaser's expense, the opinion of two recognized experts in the field, mutually agreeable to Guernsey's and the purchaser. 17. The copyrights in and to the items depicted in this catalogue, and the rights of publicity to the names, images and likenesses of persons or items depicted in this catalogue, are exclusively owned by the Consignor of the property or third parties. A BUYER OF AN ITEM OFFERED FOR SALE DOES NOT ACQUIRE ANY COPYRIGHT, COMMERCIAL RIGHT, OR SIMILAR RIGHT WHATSOEVER TO THE ITEMS OR THE IMAGES OR LIKENESSES CONTAINED THEREIN AND THE BUYER MAY NOT REPRODUCE ANY ITEM PURCHASED WITHOUT THE EXPRESS WRITTEN PERMISSION OF THE COPYRIGHT HOLDER. No copies or photographs, catalogue descriptions or other written material in this catalogue may be reproduced in any manner without the express written permission of the copy right holder.

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Participating in the Auction Bidding & Pre-establishing Credit In an effort to facilitate your rapid removal of items immediately following the auction, you can pre-establish credit with Guernsey's. Having done so, you need only write a check for the amount of your purchase (assuming it is within the range of your credit line) and you can remove your purchases. The easiest way to accomplish establishing credit is to provide an Irrevocable Letter of Credit or a Bank Letter of Guarantee from your bank stating that they will guarantee your check up to an indicated amount. Such letters normally have a time limit and therefore, for this auction, a 14 business day limit from the day of the auction would be appropriate. The bank letter should include the bank officer's name and telephone number and should state that the letter is for Guernsey's Historic Maps, Rare Books, Natural History Engravings, Watercolors, and Color Plate Books Auction on December 5, 2012. The letter should be addressed to Barbara Mintz, Vice President of Guernsey's, and indicate the limit to which the checks can be written. You Can Bid at this Auction without Pre-Establishing Credit Without pre-establishing credit, unless you pay with cash or bank check or certified check, your purchases will be held until your personal check clears (usually about 10 business days). In such cases you may be responsible for shipping and handling costs. (Please see Removal/Shipment of Purchases.) Absentee Bidding Although all are welcome to attend the auction in person, it is clear that some may wish to participate as Absentee Bidders. To facilitate absentee bidding, one may bid by completing the Absentee Bid Form and submitting it by mail or fax to Guernsey's prior to the auction. One can also bid by telephone during the actual auction by contacting Guernsey's well in advance of the auction dates to arrange for this method of bid ding. Shipping, handling and insurance for all absentee bid items are the responsibility of the wining bidder. Bidding increments are at the discretion of the auctioneer. In the case of tie bids the first bid received will be given priority. Absentee bidder invoices will be sent promptly by mail and must be paid in full within 10 days of receipt. Invoices to Internet bidders (see instructions for Internet Bidding below) will be sent promptly by email and must be paid in full within 10 days of receipt. Absentee Bid Form Instructions 1. Fill out the Absentee Bid Form included in the catalogue packet or download a copy from our website. 2. Indicate if you wish to Bid By Phone or Bid By Mail. If you wish to Bid By Phone, be sure to provide the phone number where you can be reached during the auction. Phone bids will be executed by Guernsey's telephoning the bidder on the indicated lots as they are sold at the live auction. Please return the form early to reserve a phone, as a limited number of lines are available per lot on a first come basis.

Terms & CondiTions 3. All Top Bid Amounts must be indicated in U.S. dollars. If you wish to Bid By Mail, you must indicate a Top Bid Amount. If you wish to Bid By Phone we encourage you to indicate a Top Bid Amount. Although we will make every reasonable effort to telephone you at the appropriate time during the auction, our experience indicates that there is always the possibility that for a variety of technical (and human) reasons we may not be able to reach you at that time. In the event that were to occur, to avoid disappointment, WE STRONGLY SUGGEST THAT YOU INDICATE YOUR TOP BID IN THE SPACE PROVIDED AFTER CHECKING THE BOX AUTHORIZING GUERNSEY'S TO EXECUTE YOUR BIDS UP TO THE LEVEL INDICATED.

If you are a successful Internet or Absentee Bidderâ&#x20AC;Ś.

4. Please print clearly and list all lots in numerical order. Use multiple forms, if needed.

4. Purchases paid for by personal or business check will be held until the check has cleared (please allow 10 business days from receipt of payment).

5. Sign and date the form. Internet Bidding Those who are unable to attend the auction who would like to participate can view the full catalogue online, and leave advance absentee bids, as well as place bids in real time as the sale is taking place at www.Liveauctioneers.com. For further information, please visit Guernsey's website or Liveauctioneers.com. Links from the Guernsey's website will be available approximately one month before the event. All lots in this catalogue and in the addendum to this catalogue can be bid on through Liveauctioneers.com prior to - and during - the live auction, provided that the bidder has already completed Liveauctioneers. com's registration process and been approved for bidding.

Removal / Shipment of Purchases PURCHASERS ARE RESPONSIBLE FOR ALL PACKING AND SHIPPING COSTS. Purchasers who have pre-established credit with Guernsey's, or who pay for their purchases with cash or cashier's or bank check will be able to remove their purchases immediately following the auction. Purchases by those present at the auction paying by personal check will be held until the funds have cleared, after which shipping or pick-up arrangements can be made. In some cases, there may be savings of sales tax by the use of a recognized, licensed transport company. Should you wish to learn more about your shipping options, please contact Guernsey's prior to the auction. Purchases by successful absentee, phone or internet bidders, will be held until payment in full in cleared funds is received, after which shipping or pick-up arrangements can be made.

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1. You will receive an invoice following the auction (Internet bidders by email, Absentee bidders by snail mail). If you believe you are a successful bidder and don't receive an invoice, please contact Guernsey's (212-794-2280; sjaffe@ guernseys.com) 2. Payment is due promptly and within 10 days of receipt of invoice. 3. Purchases paid for by wire transfer, bank or cashier's check will be available for release immediately.

5. When purchases are available for release you will be contacted by Guernsey's to discuss shipping options. Purchasers are responsible for all shipping costs. In some cases, there may be savings of sales tax by the use of a recognized, licensed transport company. Should you wish to learn more about your shipping options, please contact Guernsey's prior to the auction. Payment Terms Payment is due promptly and within 10 days of receipt of invoice.

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Philanthropic Note In conjunction with Guernsey's auctioneers, on December 5th, 2012 Arader Galleries is pleased to present a stunning selection of maps, rare books, natural history engravings and watercolors, Audubon's Birds and Quadrupeds and New York centric views for sale at its flagship gallery at 1016 Madison Avenue (between 78th and 79th streets). The sale features exceptional works in each category. Similar to past Arader Galleries auction events, if you are the successful bidder for any lot offered in the auction, at your direction Graham Arader will donate 10% of the hammer price of such lot you acquired to any institution, museum, school, hospital, foundation, botanical garden, zoo, research library or university you designate that is an IRS approved charity. The donation would be made by Mr. Arader following my receipt of the sale proceeds upon settlement of the sale for such lot. OR you can request that Mr. Arader direct 25% to one of the following institutions he supports: the University of Florida, Northeastern University, Prescott College, and University of South Carolina. 10% would go for unrestricted use and 15% would go for purchases of art from Mr. Araderâ&#x20AC;&#x2122;s collections. Mr. Arader asks that you inform me of your designation within 35 days of the auction. To inquire: Mr. W. Graham Arader III 29 East 72nd Street, 2nd floor New York, NY 10021 Phone: +1 212 - 628-3668 Email: grahamarader@gmail.com To Contact Arader Galleries at 1016 Madison Avenue please call +1 212 - 628-7625 or contact the Director, Daniel Brunt, at dan.brunt@gmail.com

GUERNSEYâ&#x20AC;&#x2122;S

108 East 73rd Street, New York, NY 10021 212.794.2280 auctions@guernseys.com www.guernseys.com 160