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<strong>Donald</strong> <strong>Heald</strong> Rare Books<br />

A Selection of Fine Books


<strong>Donald</strong> <strong>Heald</strong> Rare Books<br />

A Selection of Fine Books<br />

<strong>Donald</strong> <strong>Heald</strong> Rare Books<br />

124 East 74 Street New York, New York 10021<br />

T: 212 · 744 · 3505 F: 212 · 628 · 7847<br />

info@donaldheald.com<br />

www.donaldheald.com


All purchases are subject to availability. All items are guaranteed as described. Any<br />

purchase may be returned for a full refund within ten working days as long as it is<br />

returned in the same condition and is packed and shipped correctly. The appropriate<br />

sales tax will be added for New York State residents. Payment via U.S. check drawn<br />

on a U.S. bank made payable to <strong>Donald</strong> A. <strong>Heald</strong>, wire transfer, bank draft, Paypal or<br />

by Visa, Mastercard, American Express or Discover cards.


1<br />

[ARCTIC VOYAGES].<br />

Uniformly bound set of Arctic Voyages, including those by Phipps, O’Reilly, Ross, Parry, Franklin, and<br />

Back.<br />

16 works in 12 volumes, 4to (approximately 10 1/4 x 8 1/4 inches). Uniformly bound in 19th century<br />

dark blue half morocco over marbled paper covered boards, spines in six compartments divided by<br />

semi-raised bands, lettered in the second and third compartments, the others with an overall repeat<br />

decoration in gilt, marbled endpapers, marbled edges.<br />

A fantastic uniformly bound set of the principal British Arctic voyages of the late 18th and early 19th century.<br />

The set is comprised of:<br />

1) Constantine John PHIPPS (1744-1792). A Voyage towards the North Pole undertaken by His Majesty’s<br />

Command 1773. London: printed by W. Bowyer and J. Nichols for J. Nourse, 1774. Half-title, 15 folding<br />

or double-page engraved maps and plates (12 plates after John Cleveley, P. d’Auvergne, Barnes or W. Pars,<br />

3 maps), 11 letterpress tables (3 folding, 8 double-page). “First edition of the official account written by<br />

Captain Phipps, later Lord Mulgrave. This expedition of the Racehorse and Carcass, undertaken for the<br />

purpose of discovering a route to India through the northern polar regions, was blocked by pack ice north<br />

of Spitzbergen. The valuable appendix gives geographical and meteorological observations, zoological and<br />

botanical records, accounts of the distillation of fresh water from the sea, and astronomical observations.<br />

The voyage is perhaps best remembered for the presence of young Horatio Nelson, as midshipman aboard<br />

the Carcass, and his encounter with a polar bear” (Hill). The expedition had been proposed by the Earl<br />

of Sandwich and was the first serious British attempt to reach the North Pole since the early 17th century.


The voyage was sponsored by the Royal Society and received encouragement from King George III. The<br />

two expedition ships were commanded by Phipps (aboard the Racehorse) and the Carcass commanded by<br />

Captain Lutwidge. The expedition was stopped by ice just north of Spitzbergen, but, in addition to numerous<br />

scientific observations, carried out a number of interesting experiments using innovative equipment<br />

including a thermometer designed by Lord Cavendish for measuring the temperature of water and Dr.<br />

Irving’s successful apparatus for distilling fresh water from the sea. BM (NH) IV, p.1570; Hill (2004) 1351;<br />

Nissen ZBI 3163; Sabin 62572; Stafleu & Cowan IV, p.1570.<br />

[Bound with:] Bernard O’REILLY. Greenland, the Adjacent Seas, and the North-West Passage to the Pacific<br />

Ocean, Illustrated in a voyage to Davis’s Strait, during the Summer of 1817. London: Printed for Baldwin,<br />

Cradock and Joy, 1818. 3 folding maps, 18 engraved plates (including 13 aquatints). This work is notable<br />

for its role in prompting the renewed search for the northwest passage. O’Reilly, who served as a surgeon<br />

and scientist on board a Greenland whale ship, “told of an unusually large number of icebergs emanating<br />

from Baffin’s Bay” which “gave rise to the hypothesis among members of the admiralty and the Royal Society<br />

that the ice barrier in the Arctic had been reduced, and might provide the opportunity of locating an open<br />

channel in the far north” (Howgego B68 note). Abbey, Travel II, 633; Sabin 57576; Staton & Tremaine 1125.<br />

2) Sir John ROSS (1777-1856). A Voyage of Discovery, made under the Orders of the Admiralty ... for the<br />

Purpose of Exploring Baffin’s Bay, and Inquiring into the Probability of a North-West Passage. London: W.<br />

Clowes for John Murray, 1819. 32 maps, coastal profiles, plates, tables or graphs (comprising: 1 engraved<br />

folding frontispiece general chart, 2 engraved folding maps by J. Walker after J. Bushnan and others, 25<br />

aquatint or engraved plates and coastal profiles by D. Havell, R. Havell & Son, Thomas Lewin after A.M.<br />

Skene, Ross, H.P. Hoppner, Thomas Lewin and others [15 hand-coloured, 7 folding], 1 engraved table, 3<br />

folding engraved meteorological graphs), wood-engraved illustrations (one full-page). First edition. Ross’s<br />

expedition aboard the Isabella and the Alexander is credited with confirming the earlier discoveries of Bylot<br />

and Baffin, although failed to probe deeper into Lancaster Sound, a fact for which Ross was criticized upon<br />

his return. The voyage is notable for many of its scientific discoveries and an important encounter with<br />

“Arctic Highlanders” (i.e. Eskimos). Ross’s first voyage launched an important series of British Northwest<br />

Passage expeditions leading to Franklin’s disappearance. Abbey, Travel II, 634; Arctic Bibliography 14873;<br />

Sabin 73376.<br />

3) Sir John ROSS (1777-1856). Narrative of a Second Voyage in search of a north-West Passage, and of a<br />

Residence in the Arctic Regions during the years 1829 [-]... 1833 ... Including the reports of ... James Clark<br />

Ross ... and the discovery of the northern Magnetic Pole. London: A.W. Webster, 1835. 31 plates, maps and<br />

charts (1 folding engraved map, 5 lithographic charts and maps [1 folding and printed in two colours], 25<br />

plates (6 lithographs, 16 steel engravings, 3 mezzotints printed in colours). First edition. After his failure to<br />

explore Lancaster Sound in his first voyage of 1818, Ross had his 1829-33 second voyage privately financed.<br />

Although forced to abandon his steamship Victory in the ice at Felix Harbour (a fact that in the present<br />

official account Ross blames largely on the shortcomings of the boilers supplied by Braithwaite), his second<br />

expedition achieved a number of milestones. Besides the most thorough exploration of Boothia Peninsula<br />

that had been accomplished to date, James Clark Ross (John Ross’s nephew) undertook an overland journey<br />

across the peninsula and became the first to reach the North Magnetic Pole. Abbey, Travel II, 636; Arctic<br />

Bibliography 14866; Chavanne 1450; Sabin 73381; Staton & Tremaine 1808.<br />

[Bound with:] Sir John ROSS (1777-1856). Explanation and Answer to Mr.Braithwaite’s Supplement. London:<br />

Whiting for A.B.Webster, [n.d.]. Braithwaite responded to the accusations by publishing his craftily titled<br />

Supplement to Captain Ross’s narrative, and Ross followed with his Explanation and Answer [present here].<br />

Arctic Bibliography 14862; cf. Fergus Fleming Barrow’s Boys (1998) pp.310-311; Sabin 73370.<br />

4) Sir John ROSS (1777-1856). Appendix to the Narrative of a Second Voyage in Search of a North-west Passage.<br />

London: A. W. Webster, 1835. 37pp. list of subscribers, 1p. with errata and additions to subscriber’s list. 20<br />

plates (4 engravings [1 hand-coloured]; 16 lithographs [11 hand-coloured]). First edition.


5) Sir William Edward PARRY (1790-1855). Journal of a Voyage for the Discovery of a North-West Passage ...<br />

performed in the years 1819-20, in His Majesty’s Ships Hecla and Griper. London: John Murray, 1821. 20 maps<br />

and plates (13 plates [including 9 aquatints], 7 engraved maps or charts [4 folding]), 1 folding letterpress<br />

table, occasional illustrations. First edition. Over the course of his life, Parry made five Arctic voyages -- the<br />

first in 1818 under Ross and four under his own command. His voyages established a number of firsts: the<br />

first to cross 110°W, the first to discover what would prove to be the entrance to the Northwest Passage (and<br />

navigate a good portion of it), the first to plan an Arctic wintering, the first to sail through Frozen Strait,<br />

and in his final voyage the establishment of a record highest northern latitude. Taken as a whole, while his<br />

goals of discovering the Northwest Passage in his first three voyages and the attainment of the North Pole in<br />

his final voyage were unsuccessful, Parry contributed an enormous amount to Arctic exploration and to the<br />

knowledge of Eskimo language and culture. Arctic Bibliography 13145; BM(NH) IV, p.1546; Sabin 58860;<br />

Stafleu & Cowan 7409.<br />

6) Sir William Edward PARRY (1790-1855). Journal of a Second Voyage ... performed in the years 1821-22-23,<br />

in His Majesty’s Ships Fury and Hecla. London: John Murray, 1824. 2pp. publisher’s advertisement at end.<br />

39 maps and plates (30 plates [including 19 engravings (7 of these folding), 11 aquatints]; 9 maps or charts<br />

[6 engraved (4 of these folding), 3 folding and lithographed]). First edition. Arctic Bibliography 13142;<br />

BM(NH) IV, p.1546; Sabin 58864; Stafleu & Cowan 7411.<br />

7) Sir William Edward PARRY (1790-1855). Journal of a Third Voyage ... performed in the years 1824-25,<br />

in His Majesty’s Ships Hecla and Fury. London: John Murray, 1826. 11 engraved maps and plates (7 plates<br />

[1 folding], 4 maps or charts [1 folding]), occasional illustrations. First edition. Arctic Bibliography 13144;<br />

BM(NH) IV, p.1546; Sabin 58867; Stafleu & Cowan 7413.<br />

[Bound with:] Sir William Edward PARRY (1790-1855). Narrative of an Attempt to Reach the North Pole, in<br />

boats fitted for that purpose, and attached to His Majesty’s Ship Hecla, in the year MDCCCXXVII. London:<br />

John Murray, 1828. 7 engraved maps and plates (4 plates, 3 maps or charts [1 folding]). First edition.<br />

BM(NH) IV, p.1546; Arctic Bibliography 13146; Sabin 58868; Stafleu & Cowan 7414.<br />

8) [John RICHARDSON and others]. Appendix to Captain Parry’s Journal of a Second Voyage ... in the years<br />

1821-22-23. London: John Murray, 1825. 2 engraved plates, 2 folding letterpress tables. First edition. Cf.<br />

Arctic Bibliography 13142; BM(NH) IV, p.1546; Sabin 58865; Stafleu & Cowan 7412.<br />

[Bound with:] [Edward SABINE, and others]. A Supplement to the Appendix of Captain Parry’s Voyage ...<br />

in the years 1819-20. Containing an account of the subjects of Natural History. London: John Murray, 1824.<br />

6 engraved plates after Franz. Bauer and others. First edition. Cf. Arctic Bibliography 13145; BM(NH) IV,<br />

p.1546; Sabin 58861; Stafleu & Cowan 7410.<br />

9) PARRY, Sir William Edward (1790-1855) - Sir Edward SABINE (1788-1883, editor). The North Georgia<br />

Gazette, and Winter Chronicle ... Second Edition. London: John Murray, 1822. Quarto (10 5/8 x 8 1/4 inches).<br />

Half-title. Wood-engraved vignettes. In a modern binding uniform the rest of the set. Arctic Bibliography<br />

13547; Sabin 55714.<br />

10) Sir John FRANKLIN (1786-1847). Narrative of a Journey to the Shores of the Polar Sea, in the years 1819,<br />

20, 21, and 22 ... with an appendix on various subjects relating to science and natural history. London: printed<br />

by William Clowes for John Murray, 1823. Small format errata slip. 30 engraved or aquatint plates (11 handcoloured)<br />

by Edward Finden, J. Curtis and others after Robert Hood (8) and George Back (15), Hood & Back<br />

(1) and J. Curtis (6), 4 folding engraved maps. In 1819, Lieutenant John Franklin, a career naval officer who<br />

had been at the battle of Trafalgar, was placed in command of an expedition appointed to proceed overland<br />

from the Hudson Bay to the shores of the Arctic Sea, and to determine the trendings of that coast east of the<br />

Coppermine river. At this period the northern coast of the American continent was known at two isolated


points only: this, the mouth of the Coppermine river (which, as Franklin discovered, was erroneously placed<br />

four degrees of latitude too far to the north), and the mouth of the Mackenzie far to the west. Lieutenant<br />

Franklin and his party, consisting of Dr. Richardson, Midshipmen George Back and Richard Hood, and a<br />

few boatmen, arrived at the depot of the Hudson’s Bay Company at the end of August 1819, and making an<br />

autumnal journey of 700 miles spent the first winter on the Saskatchewan. Owing to the delay in the arrival<br />

of supplies which had been promised by the North-West and Hudson’s Bay Companies, it was not until the<br />

summer of 1821 that the Coppermine was ascended to its mouth, and a considerable extent of sea-coast to<br />

the eastward surveyed. The return journey over the region known as the Barren Ground was marked by<br />

the most terrible sufferings and privations and the tragic death of Lieutenant Hood. The survivors of the<br />

expedition reached York Factory in June 1822, having accomplished altogether 5550 miles of travel. While<br />

engaged on this service Franklin was promoted to the rank of commander (January 1821), and upon his<br />

return to England at the end of 1822 he obtained the post rank of captain and was elected a fellow of the<br />

Royal Society. The narrative of this expedition was published in the following year and became at once a<br />

classic of travel. Cf. Abbey, Travel II, 635 (including Narrative of a Second Expedition published 1828); Hill<br />

635; Nissen ZBI 1419; Sabin 25624 (erroneously calling for 34 plates and 4 maps); Wagner-Camp 23:1.<br />

11) Sir John FRANKLIN (1786-1847). Narrative of Second Expedition to the Shores of the Polar Sea, in the<br />

Years 1825, 1826, and 1827 ... Including an account of the progress of a detachment to the Eastward, by John<br />

Richardson. London: printed by William Clowes for John Murray, 1828. 31 engraved plates, 6 folding<br />

engraved maps (1 hand-coloured in outline). First edition. Abbey Travel II, 635; Arctic Bibliography 5198;<br />

Lande 1182; Sabin 25628; TPL 1434; Wagner-Camp 35:1.<br />

12) Admiral Sir George BACK (1796-1878). Narrative of the Arctic land expedition to the mouth of the Great<br />

Fish River, and along the shores of the Arctic Ocean, in the years 1833, 1834, and 1835. London: A.Spottiswoode<br />

for John Murray, 1836. 16 plates on India paper mounted, after Back (13) and B. Waterhouse Hawkins (3), (7<br />

lithographed by Haghe or Day & Haghe, 9 steel-engraved by E. Finden), 1 folding engraved map, numerous<br />

illustrations. Large-paper issue of the first edition: “One of the fundamental books on Arctic exploration”<br />

(Hill) and “one of the finest travel books of the nineteenth century” (Howgego). “...Full of details of [Back’s]<br />

... commerce with the Cree, Chippewa, and Coppermine Indians ... [this work is ] ... a fundamental source<br />

of information about Indian life along the route of the Arctic expedition” (Streeter). The narrative also<br />

contains valuable information on Arctic flora and fauna. The original primary intention of the expedition<br />

had been to aid the second expedition of Sir John Ross. News of Ross’s safe return reached Back in April<br />

1833 and he then pursued the expedition’s secondary objectives. These were, firstly, to navigate the length<br />

of a river supposedly arising in the neighbourhood of the Great Slave Lake and running north to the Arctic<br />

sea, and then, secondly, to map as much as possible of the sea-coast. He was successful in both objectives,<br />

travelling 7,500 miles in total and traversing the full 440-mile length of the river (known as Thlueetessy<br />

by the Indians). The Great Fish River, as Back named it, has since become known as Back River. Arctic<br />

Bibliography 851; cf.BM (NH) I,p.81 (incorrect plate count); Field 63; Hill (2004) 42; cf. Howgego II,B3;<br />

Sabin 2613 (incorrect plate count); cf. Staton & Tremaine 1873 (octavo edition); Wagner-Camp 58b:1<br />

(octavo edition).<br />

(#25981)<br />

$ 52,500


2<br />

[ARIF Pacha, Muchir].<br />

[Les Anciens Costumes de l’Empire Ottoman, depuis l’origine de la monarchie jusqu’a la reforme du<br />

Sultan Mahmoud].<br />

[Paris: Lemercier, 1863]. Vol.I (all published), folio (21 1/4 x 15 3/8 inches). Lithographic portrait<br />

of Arif Pasha, on india paper mounted, drawn on stone by M. Julien, 16 tinted lithographic plates<br />

after Arif. (Lacking lithographic title, toning to text). Contemporary black half morocco over black<br />

cloth-covered boards.<br />

A valuable and beautifully-illustrated survey of the costume worn at the court of the Ottoman Empire.<br />

Eighty forms of costume worn by Ottoman functionaries are portrayed in this work which was published<br />

with the text in both French and Turkish. Although the lithographic title states ‘Tome 1er’, no further volume<br />

was published in either language. Two editions were issued: one at 80 Francs with the plates printed in<br />

colours and finished by hand, the second (as here) at 40 Francs with tinted plates. Arif Pasha fought against<br />

the Greeks at Athens and at Euboea (1826-28), and in Syria against Mehmet Ali. His career included a<br />

number of missions for the Sultan and his appointment in 1861 as governor of the province of Silistria.<br />

Atabey 30; Blackmer 43; Colas I,148; Lipperheide 1440m.<br />

(#24930)<br />

$ 10,000


3<br />

BAUR COLLECTION. - John AYERS and others.<br />

The Baur Collection [Vols 1-3].<br />

Geneva: Collections Baur, 1968-1984. 3 volumes (vols. 1-3), quarto (11 1/8 x 8 7/8 inches). Text<br />

in English and French. Numerous plates, most coloured, some folding. (vol. 3 with minor marginal<br />

waterstaining affecting first 16 leaves but not affecting text or illustrations). Original cloth, dustjackets<br />

(slight wear to dust jackets).<br />

Alfred Baur (1865-1951) gave his collection to the foundation which bears his name shortly before he died.<br />

He began collecting in about 1907 and continued right up until his death, but little was known of the breadth<br />

and quality of his collection until the present catalogues were published:<br />

The individual catalogues present here are as follows:<br />

1. John AYERS. The Baur Collection ...Chinese Ceramics volume one (with Korean and Thai wares). Geneva<br />

1968. One of 1000 copies.<br />

2. John AYERS. ... Chinese Ceramics volume two (Ming porcelain, and other wares). Geneva: 1969. One of<br />

1000 copies.<br />

3. John AYERS. ....Chinese Ceramics volume three Monochrome-glazed porcelains of the Ch’ing dynasty.<br />

Geneva: 1972. One of 1000 copies.<br />

(#25966)<br />

$ 4,500


4<br />

BEARDSLEY, Aubrey (1872-1898).<br />

The Early Work of Aubrey Beardsley ... [With:] The Later Work of Aubrey Beardsley ... [And with:] The<br />

Uncollected Works of Aubrey Beardsley.<br />

London: John Lane The Bodley Head, 1899-1901-1925. 3 volumes, 4to (11 x 8 inches). Half-titles<br />

in each volume. 501 plates (including six extra plates in the third volume for this edition only).<br />

Publisher’s cream cloth with title stamped on upper covers within an architectural frame in green or<br />

gold (very minor soiling).<br />

The deluxe edition on japan vellum, number 94 of 110 copies: a wonderfully illustrated set, depicting the<br />

complete oeuvre of the famed artist of the Aesthetic and Art Nouveau movements.<br />

Beadsley was largely self-taught and began working as an illustrator at the age of nineteen, achieving notable<br />

and lasting acclaim for his illustrations in the Dent edition of Malory’s Le Morte Darthur in 1892. In 1894,<br />

Beardsley became the art editor of The Yellow Book under the general editorship of Oscar Wilde, but his<br />

advancing tuberculosis and Wilde’s arrest put an end to that satirical periodical. Although in increasingly<br />

poor health, Beardsley continued to produce illustrations, including those in The Savoy, The Rape of the<br />

Lock, and Lysistrata. He would die prematurely in France on 16 March 1898.<br />

(#26317)<br />

$ 4,500


5<br />

BIDA, Alexandre (1813-1895) & E. BARBOT (1798-1878).<br />

Souvenirs d’Egypte.<br />

Paris: Lemercier, [circa 1850]. Large folio (22 1/8 x 16 3/8 inches). Lithographed and mounted on<br />

cloth guards throughout: tinted title with integral vignette by and after Alexandre Bida, 24 tinted<br />

plates titled in French, Arabic and English (comprising: 12 views after E. Barbot drawn on stone by<br />

Eug. Ciceri with occasional help from C. Bour; 12 costume/character studies by and after Alexandre<br />

Bida), all printed by Lemercier. Contemporary brown half morocco over blue cord-grained cloth,<br />

upper cover titled in gilt “Souvenirs / d’Egypte”, spine in seven compartments with semi-raised<br />

bands, lettered in the second, the others with simple repeat decoration in gilt, cream/orange glazed<br />

endpapers.<br />

A spectacular and rare album featuring the work of two important French Orientalist artists.<br />

Only a single copy of this work is listed as having sold at auction in the past thirty-five years, and according<br />

to Chadenat this album was never sold commercially. The twenty four uniformly excellent plates include<br />

twelve topographical views after Barbot of Egyptian sights and cities from Philae to Cairo, ancient and<br />

modern, all peopled and bustling with life. Alexandre Bida’s contribution consists of twelve beautifullyobserved<br />

character studies of the people he encountered in the region: an Albanian, a Copt, dancers, ladies,<br />

a donkey driver, a groom, etc. Bida, studied under Eugene Delacroix, and travelled extensively through<br />

Egypt, Greece, Turkey, Lebanon and Palestine. “E. Barbot” is Prosper Barbot (1798-1878), a pupil of Jules<br />

Coignet and Louis Watelet, who made two journeys to Egypt in 1844 and 1846 travelling from Cairo south<br />

across the desert.<br />

Colas I.326; Chadenat 761 (“Tres belle album non mis dans le commerce.”); Lipperheide I, Ma32<br />

(#23182)<br />

$ 17,500


6<br />

BLIGH, William (1754-1817).<br />

A Voyage to the South Sea, undertaken by command of his Majesty, for the purpose of conveying the<br />

bread-fruit tree to the West Indies, in His Majesty’s Ship the Bounty, commanded by Lieutenant William<br />

Bligh. Including an account of the mutiny on board the said ship, and the subsequent voyage of part of<br />

the crew, the ship’s boat, from Tofoa, one of the Friendly Islands, to Timor, a Dutch settlement in the<br />

East Indies.<br />

London: printed for George Nicol, 1792. Quarto (10 3/4 x 8 1/2 inches). Stipple-engraved portrait<br />

frontispiece of Bligh by J. Condé after J. Russell, 7 engraved plates, charts and plans (comprising:<br />

1 plate of a breadfruit, 2 folding plans, 4 charts [3 folding]). Expertly bound to style in half 18th<br />

century russia over contemporary marbled paper covered boards, spine gilt in compartments, red<br />

morocco lettering piece in the second, the others with a repeat decoration in gilt.<br />

First edition of the full official account of the Bounty expedition, the famous mutiny and Bligh’s miraculous<br />

navigation to safety.<br />

This work “includes a revised version of the text of Bligh’s narrative of the mutiny, previously published in<br />

London in 1790 ... This account was based upon Bligh’s journal but was written, edited and seen through<br />

the press by James Burney, under the supervision of Sir Joseph Banks, during Bligh’s absence from London<br />

while on his second breadfruit voyage on the Providence” (Hill). The most remarkable part of the narrative<br />

is undoubtedly Bligh’s account of the voyage in the Bounty’s 23-foot launch. His achievement of safely<br />

navigating an open vessel packed with 19 men a distance of 4,000 miles without serious mishap is almost<br />

without parallel in the history of ocean travel.<br />

Cox, II p 305; Du Rietz 93; Ferguson 125; Hill (2004) 135; Mendelssohn II, 1117; Sabin 5910; Wantrup 62a.<br />

(#26752)<br />

$ 14,000


7<br />

BURCKHARDT, John Lewis (1784-1817).<br />

Travels in Syria and the Holy Land.<br />

London: John Murray, 1822. 4to (10 1/2 x 8 1/4 inches). [4], xxiii, [3], 668pp. Half-title. Lithographed<br />

portrait frontispiece, six maps (2 folding). (Minor foxing and offsetting to the frontispiece and<br />

maps, large general map linen-backed at an early date). Nineteenth century half green morocco over<br />

green pebbled cloth boards, spine with raised bands in six compartments, lettered in the second<br />

compartment, the others with an overall repeat decoration in gilt, marbled endpapers, a.e.g.<br />

First edition of Burckhardt’s travels in Syria and Palestine.<br />

“Edited by William Leake, these journals describe Burckhardt’s various journeys between 1810 and 1816.<br />

It was at Aleppo that he studied Arabic in preparation for his later travels and he toured Syria and the Holy<br />

Land making the first visit by a European to Petra. Burckhardt had been recruited by Sir Joseph Banks on<br />

behalf of the African Association to carry out these explorations, but unfortunately died in 1819 before he<br />

was able to complete the entire project” (Blackmer).<br />

Blackmer 237; Tobler, p. 141; Rohrict 1627; Heinze I: 407; Weber 1:107; Atabey 166.<br />

(#26352)<br />

$ 2,750


8<br />

CAESAR, Julius (100 B.C.-44 B.C.).<br />

Caij Julj Caesaris: Invictissimi iperatoris comentaria.<br />

Venice: Augustino Zanni, 17 August 1511. Small folio bound in 8s (11 3/4 x 8 1/4 inches). [4],<br />

110, [8] leaves. Title printed in red, large title woodcut printed in black with border in red, 2 large<br />

woodcuts, including title woodcut repeated with border in black, and 12 smaller woodcuts, numerous<br />

historiated woodcut initials. Scattered early marginalia. Early vellum, manuscript title on spine.<br />

Early illustrated edition of Caesar’s Commentaries: a classic of Latin prose.<br />

His only surviving work, the Commentaries of Caesar, are comprised of his De Bello Gallico, De Bello Civili,<br />

De Bello Africo and De Bello Hispaniensis. Together, they form the great Roman general’s own account of<br />

the conquest of Gaul (58-52 B.C.) and the civil war against Pompey (49-48 B.C.) and include his descriptions<br />

of battles in Egypt and encounters with Cleopatra, fierce battles with the Gallic and Germanic tribes in Gaul,<br />

an attempt to invade England, and more.<br />

This early illustrated edition was published in Venice by Zanni in 1511. The striking title woodcut, set<br />

off by its red-printed ornamental border, depicts a battle scene; the second large woodcut shows Lentulus<br />

seated addressing the Senate. The woodblocks, first used in Giunta’s 1493 edition of Livy, were immensely<br />

successful and passed from printer to printer; Agostino Zanni presumably borrowed them from his kinsman<br />

Bartolomeo Zanni, who published his third illustrated edition of Livy using these blocks in 1511.<br />

BMC/STC Italian p. 135; Sander 1503; Isaac, 12447; Essling, 1727.<br />

(#26627)<br />

$ 9,500


9<br />

CHOISEUL-GOUFFIER, Marie Gabriel A. F., Comte de (1752-1817).<br />

Voyage Pittoresque de la Grece.<br />

Paris: 1782 [vol. 1]-1809 [vol. 2, part 1]-1822 [vol. 2, part 2]. 3 parts in 2 volumes (vol. 2, parts 1 and<br />

2 bound together), folio (19 1/2 x 12 1/2 inches). 3 titles with engraved vignettes, portrait frontispiece<br />

in vol. 2, two folding maps, double-page table and 285 engraved plates on 168 sheets (numbered<br />

1-126; 1-157 plus 8 and 76 bis). Expertly bound to style in half russia over period marbled paper<br />

covered boards, spine with double-raised bands in seven compartments, Greek key roll tool dividing<br />

each band, lettered in gilt in the second and fourth compartments, the others with a repeat decoration<br />

in gilt.<br />

First edition, first issue of an important illustrated work on the Levant.<br />

“In 1776, Choiseul-Gouffier undertook this journey to the Levant accompanied by the artist J. B. Hilaire,<br />

whom Boppe considered to be the artist who most understood the nature of the Levant. They travelled on<br />

board the ship commanded by the Marquis de Chabert who was preparing a new chart of the Mediterranean,<br />

traversing the islands of the Archipelago and the coast of Asia Minor before landing at Coroni where Choiseul-<br />

Gouffier began his exploration of mainland Greece. On his return to France at the end of 1776 he began to<br />

prepare his work for publication. On its appearance volume one was so successful that in 1784 Choiseul-<br />

Gouffier was appointed ambassador to Constantinople. The publication of volume two was delayed for<br />

many years; the first part [of vol. two] appeared in 1809, and the second part was published posthumously<br />

under the direction of Barbe du Bocage” (Atabey).<br />

Atabey 241; Blackmer 342; Cohen de Ricci 238<br />

(#26159)<br />

$ 22,000


10<br />

CHORIS, Louis (1795-1828).<br />

Voyage Pittoresque autour du Monde, avec des portraits de sauvages d’Amérique, d’Asie, d’Afrique, et<br />

des iles du grand ocean; des paysages, des vues maritimes, et plusieurs objets d’histoire naturelle.<br />

Paris: Firmin Didot, 1822. Folio (17 x 10 1/4 inches). 1p. list of subscribers and 2pp. list of plates in<br />

the rear. Lithographic portrait frontispiece of Count Romanzoff, 104 fine hand-coloured lithographs<br />

(89 by Choris, 13 after Choris by V.Adam, Franquelin, Norblin or Morlet, 1 after Albert de Chamisso,<br />

1 unsigned, 98 printed by Langlumé [6 with no printer given]), 1 folding engraved map with routes<br />

marked in colours by hand, 2 lithographic charts on 1 leaf. Uncut. (Foxing to text and tissue guards,<br />

the plates quite clean). Period half red morocco over marbled paper covered boards, spine in six<br />

compartments divided by wide semi-raised bands, tooled in gilt and blind on each band, lettered<br />

in gilt in the second compartment, the others with a repeat central decoration in gilt, marbled<br />

endpapers.<br />

Extremely rare, large-paper, fully hand-coloured issue of a fundamental work on Alaska, California and Hawaii<br />

and “one of the most beautiful books of travel in existence” (Hill): one of fifty such deluxe copies of the first<br />

edition.


Louis Choris, born Login Choris in Jekaterinolsaw, Russia, on 22 March 1795, was only twenty years old<br />

when he was appointed official artist aboard the Rurik, 1815-1818, commanded by the Russian, Otto von<br />

Kotzbue. “The purpose of the voyage was to search for the supposed Northwest Passage. After visiting islands<br />

in the South Seas, Kotzbue explored the North American coast and landed twice on the Hawaiian Islands<br />

... [Choris’s work] has great American interest because of its lithographs of California, the Queen Charlotte<br />

Islands, the Aleutians, St. Lawrence Island in the Bering Sea, and Kotzbue Sound in Alaska. The lithographs<br />

cover all aspects of native life and culture, as well as the natural history of the area. Choris was a Russian of<br />

German stock, and his book is considered one of the most beautiful books of travel in existence. A map of<br />

the route of the expedition accompanies the work” (Hill).<br />

The work was issued in twenty-two parts, in three different forms: with the plates uncoloured, with just the<br />

natural history subjects coloured, or in a deluxe form, as here, on larger paper and with all the plates hand<br />

coloured. “Complete copies with all the plates colored are very rare” (Hill).<br />

BM (NH) I, p.347; Brunet I,1851; Cowan p.123; Forbes I, 541; Graff 699; Hill 290; Howes C-397 ‘c’; Lada-Mocarski 84 (2nd<br />

variant); Nissen ZBI 881; Peters, California on Stone, pp. 97-98, Sabin 12884; Taylor p.117; Wickersham 6676.<br />

(#26797)<br />

$ 170,000


11<br />

COOK, Capt. James (1728-1779) and Captain James KING.<br />

A Voyage to the Pacific Ocean ... for Making Discoveries in the Northern Hemisphere. Performed under<br />

the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery;<br />

in the Years 1776, 1777, 1778, 1779, and 1780.<br />

London: H. Hughs for G. Nicol, and T. Cadell, 1785. 4 volumes (Text: 3 vols., quarto [12 7/16 x 9<br />

3/4 inches]; Atlas: [22 5/8 x 16 3/4 inches]). Text: final blank 4H4 in vol.I. 1 folding letterpress table,<br />

uncut. Atlas: 87 engraved plates, plans and maps (1 folding, 1 double-page, plate LXXXII a proof<br />

before the addition of the plate number which is added in ink in a contemporary manuscript hand),<br />

the larger plates uncut at outer and lower margins, the smaller plates completely uncut and unfolded.<br />

Text: contemporary blue/gray paper-covered boards rebacked to style in 18th-century diced russia,<br />

spines gilt in seven compartments, red morocco lettering-pieces in the second and dark green/blue<br />

morocco in the third compartments, repeat pattern in gilt in the other compartments, edges uncut;<br />

Atlas: bound to match using blue/gray paper-covered boards backed with 18th-century diced russia,<br />

spine gilt in eight compartments with raised bands, lettering-pieces and repeat decoration in gilt<br />

using the same tools as used on the text volumes, top edge gilt.<br />

A very fine original set of the second and best edition of the text, with the plates in their most desirable form: all<br />

the plates usually found in the text volumes are here bound, unfolded in the atlas volume.<br />

“The famous accounts of Captain Cook’s three voyages form the basis for any collection of Pacific books. In<br />

three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than<br />

all his predecessors had done together. He was really the first scientific navigator and his voyages made great<br />

contributions to many fields of knowledge” (Hill).<br />

“Cook’s third voyage was organized to seek the Northwest Passage and to return [the islander] Omai to Tahiti.<br />

Officers of the crew included William Bligh, James Burney, James Colnett, and George Vancouver. John<br />

Webber was appointed artist to the expedition. After calling at Kerguelen Island, Tasmania, New Zealand,<br />

and the Cook, Tonga, and Society Islands, the expedition sailed north and discovered Christmas Island and<br />

the Hawaiian Islands, which Cook named the Sandwich Islands. Cook charted the American west coast<br />

from Northern California through the Bering Strait as far north as latitude 70 degrees 44 minutes before he<br />

was stopped by pack ice. He returned to Hawaii for the winter and was killed in an unhappy skirmish with<br />

the natives over a boat. Charles Clarke took command and after he died six months later, the ships returned<br />

to England under John Gore. Despite hostilities with the United States and France, the scientific nature of<br />

this expedition caused the various governments to exempt these vessels from capture. The voyage resulted in<br />

what Cook judged his most valuable discovery - the Hawaiian Islands” (Hill).<br />

The typography of the second edition of the text of the third voyage is generally considered superior to the<br />

first. For the second and subsequent editions, Hughes took over the printing from Strahan and re-set the<br />

text. Contemporary support for this view is reported by Forbes who quotes an inscription in a set presented<br />

by Mrs. Cook to her doctor, Dr. Elliotson, which notes “the letter press of the second edition being much<br />

superior to the first both in paper & letter press.”<br />

Of great rarity and significance are the presence of the plates usually found in the text volume, here unfolded<br />

and bound into the atlas. Such sets are more desirable, as the plates may be enjoyed more fully without the<br />

usual folds and losses from irregular trimming by the binder.<br />

Beddie 1552; Forbes Hawaiian National Bibliography 85; cf. Sabin 16250.<br />

(#14173)<br />

$ 32,500


12<br />

COVERTE, Robert.<br />

A True and Almost Incredible Report of an<br />

Englishman, that (being cast away in the good<br />

Ship called the Assension in Cambaya, the farthest<br />

part of the East Indies) travelled by Land thorow<br />

many unknowne Kingdomes and great Cities. With<br />

a particular Description of all those Kingdomes,<br />

Cities, and People: As also, a Relation of their<br />

commodities and manner of Traffiqne, and at what<br />

seasons of the yeere they are most in use. Faythfully<br />

related: With a Discovery of a Great Emperour<br />

called the Great Mogoll, a Prince not till now<br />

knowne to our English Nation.<br />

London: Printed by I[ohn] N[orton] for Hugh<br />

Perry, 1631. Small 4to (7 1/4 x 5 1/2 inches).<br />

[vi], 68, [1] pp. Printer’s colophon leaf in rear.<br />

(Title and A4 on stub guards). Full red morocco<br />

by Zaehnsdorf, covers bordered with a gilt<br />

triple fillet, spine in six compartments with<br />

raised bands, ruled in gilt on either side of each<br />

band, lettered in the second compartment, the<br />

others with repeat decoration in gilt, marbled<br />

endpapers, gilt edges. Provenance: early ink and<br />

pencil marginalia throughout.<br />

A very rare early account of an overland journey through India and the Middle East.<br />

The author and his men left Plymouth in March 1607 aboard the Ascension and were among the first<br />

Englishmen to see the Cape of Good Hope, arriving there in July 1608. Coverte eventually reached Gujarat,<br />

where the ship ran aground while approaching Surat. Not granted permission to remain in Surat, the crew<br />

departed to various destinations. Coverte and others set out overland for the Moghul Court at Agra via<br />

Burhanpur (describing the important military post as larger than London), arriving at Agra in December<br />

1609. Although asked by the emperor Jahangir to serve in his military service, Coverte and other crew<br />

members left Agra in January 1610 “with the intention of making their way back to the Levant by the overland<br />

route. Travelling by way of Kandahar, Esfahan, and Baghdad, they reached Aleppo in December 1610 and<br />

from the coast of the Levant sailed for England. They subsequently arrived home in April 1611” (Howgego).<br />

An absorbing account presented in the form of a travel diary, Penrose described this work as a “vigorous<br />

narrative. It relates its author’s reception by the Emperor Jahangir, and his ... journey across India, Afghanistan,<br />

and Persia, and ... is one of the best examples of a travel journal that the period produced.” The work was<br />

first published in 1612, with a second edition appearing two years later before the present third edition: all<br />

English editions are rare and desirable. Two German translations followed and the account was further<br />

published in compilations of discovery and exploration, including those published by De Bry, Hulsius, and<br />

van der Aa.<br />

Howgego C211; Penrose, Travel and Discovery in the Renaissance, p. 324; Oaten, European Travellers in India, pp. 158-161; STC<br />

5897.<br />

(#25255)<br />

$ 10,000


13<br />

CURTIS, William (1746-1799).<br />

Flora Londinensis; or, Plates and Descriptions of such Plants as grow wild in the Environs of London.<br />

London: printed for and sold by the Author & B.White & Son (vol.I), for the author (vol.II), [1775-<br />

]1777-1798. 2 volumes, folio (17 7/8 x 11 inches). Engraved oval title vignette to vol.I, 435 handcoloured<br />

engraved plates, after Sydenham Edwards, James Sowerby and William Kilburn, with some<br />

plates printed in colours and hand-coloured, as issued. 2pp. subscriber list in vol. 1, general index<br />

to fascicules 1-3 in vol. 1 and part indices to fascicules 4-6 in vol. 2. Plates in vol. 1 with period<br />

manuscript numbering in the lower left corner of each plate. Contemporary full tree calf, covers with<br />

a gilt roll tool border, upper covers with central arms in gilt of Lord Willoughby de Broke, expertly<br />

rebacked to style, flat spine in seven compartments divided by gilt roll tools, red and green morocco<br />

labels in the second and fourth compartments, the others with a repeat overall decoration in gilt.<br />

Provenance: John Peyto-Verney, Lord Willoughby de Broke (1738-1816, arms in gilt on the upper<br />

cover); Robert John Verney, Lord Willoughby de Broke (1809-1862, armorial bookplate).<br />

Rare first edition of the first English colour-plate national flora: a large copy with wide margins to both plates<br />

and text.


Curtis, with the support of Lord Bute, published the first part in 1775. For “ten years he continued ... at<br />

his congenial but unremunerative task, [and] by 1787, the results of his labour were two splendid folio<br />

volumes and a deficit that made the continuance of his venture impossible. He understood the cause of<br />

the trouble and saw the remedy: if his clients refused to buy folio pictures of the unassuming plants that<br />

grew by the wayside, he would win their patronage with octavo engravings of the bright flowers that filled<br />

their gardens. Thus, in 1787, The Botanical Magazine was born” (Blunt. p.212). The success of the magazine<br />

allowed Curtis to continue the publication of the Flora Londiniensis, the former, as Curtis put it, providing<br />

the “pudding”, the latter the greater satisfaction and the critical acclaim from his peers. The majority of the<br />

illustrations in the first volume are by William Kilburn with the rest of the plates divided between James<br />

Sowerby and Sydenham Edwards. The present copy, includes the “<strong>Catalogue</strong> of certain plants, growing wild<br />

in the environs of Settle” (here bound in the second volume). Unusually, the second volume here includes<br />

the three individual fascicule indices which were often discarded.<br />

Dunthorne 87; Great Flower Books (1990) p.88; Henrey III, 595; Hunt 650; Nissen BBI 439; Stafleu & Cowan 1286.<br />

(#26759)<br />

$ 22,000


14<br />

DODWELL, Edward (1767-1832).<br />

Views in Greece, from Drawings by Edward Dodwell.<br />

London: Thomas Davison for Rodwell and Martin, 1819-1821. 6 parts, folio (21 3/4 x 15 inches).<br />

Text in English and French. Titles with aquatint vignettes, 30 hand-colored aquatint plates by R.<br />

Havell, T. Fielding, F.C. Lewis and others after Dodwell (24) and Pomardi (6), each trimmed and<br />

mounted on card as issued. Printed captions on slips mounted on verso of the cards, as issued.<br />

Original green morocco-backed lettered paper wrappers. The six parts housed in a modern green<br />

morocco backed box.<br />

First edition in the original parts of the deluxe issue of among the most spectacular colour plate books on Greece,<br />

including plates engraved and coloured by Havell: this copy in fantastic original condition.<br />

“A long residence in Turkey has enabled the author to examine, and the assistance of a first rate artist to<br />

illustrate, the Topography of this seat of early history. Greece, including the Peloponnesus and the Ionian<br />

Islands, were the particular objects of his tour; in the course of which many districts unexplored by preceding<br />

travellers have been penetrated, and remains, hitherto unknown, examined, and faithful drawings made of<br />

their actual state” (Prospectus).<br />

Simultaneous to the beginning of the publication of the present work, Dodwell published his Classical and<br />

Topographical Tour in Greece in two volumes quarto, containing numerous engravings. The prospectus to<br />

the present work continues: “As the detailed accuracy of many of these drawings will not allow of reduction<br />

to the size of the volumes of the author’s Tour, this work is published with the view of presenting the most<br />

celebrated scenes and monuments of Greece upon a more adequate scale, while a style of engraving is<br />

adopted, which, with the aid of colouring, will admit of the nearest approach to the originals.” Done in folio,<br />

the present work had the added benefit of being the same size as Stuart’s Athens, thus forming a complete<br />

picture of the region.


The plates are superb examples of 19th century hand coloured aquatints. Unusually, not only are the<br />

engravers of each plate identified, but the colourists as well. That such skilled artists were used for both<br />

engraving and colouring attests to the deluxe nature of this work. The present parts issue with the plates<br />

mounted to resemble the original watercolours is without question the most beautiful, most rare and most<br />

desirable issue.<br />

Abbey, Travel 130; Blackmer 493; Tooley 182; Colas 876; Prideaux, pp. 234, 334; Atabey 357; Bobins, The Exotic and the Beautiful<br />

I:136; Weber 1110.<br />

(#26325)<br />

$ 57,500


15<br />

DOPPELMAYR, Johann Gabriel (1677-1750).<br />

Atlas Novus Coelestis in quo Mundus Spectabilis.<br />

Nuremburg: J. B. Homann, 1742. Folio. Letterpress title-page printed in red and black. Engraved<br />

allegorical additional title-page, 30 double-page engraved celestial charts partially hand-coloured.<br />

Period limp calf, upper cover lettered in blind. Housed in a modern black morocco backed box.<br />

A celebrated and beautiful 18th century celestial atlas.<br />

Johann Gabriel Doppelmayr (1677-1750), a Nuremberg astronomer and mapmaker, completed his most<br />

celebrated work Atlas Coelestis in 1742. A member of the Royal Society of London and the Academies of<br />

Berlin, Vienna and St. Petersburg, Dopplemayr’s celestial charts were prepared between 1712 and circa 1740,<br />

and were based on his own observations, the famed Polish astronomer Johannes Hevelius, and many of the<br />

leading astronomers of Europe whose planetary theories he wonderfully depicts. “Besides star charts and a<br />

selenographic map, Doppelmayr’s Atlas includes diagrams illustrating the planetary systems of Copernicus,<br />

Tycho, and Riccioli; the elliptic theories of Kepler, Boulliau, Seth Ward, and Mercator; the lunar theories<br />

of Tycho, Horrocks, and Newton; and Halley’s cometary theory” (DSB IV, p 166). Some of the charts, all<br />

published by Homann, appeared in earlier atlases, but are here found assembled for the first time.<br />

Hall, Out of this World 26; Poggendorff I, 593; Sotheran 1080; Lex. z. der Kartogr. S. 177 and 317; DSB IV, 166; NDB IV, 76;<br />

Kanas, Star Maps, pp. 209-211.<br />

(#26718)<br />

$ 28,500


16<br />

[DRAGE, Theodore, or Charles SWAINE].<br />

An Account of a Voyage for the Discovery of a North-West Passage by Hudson’s Streights, to the Western<br />

and Southern Ocean of America ... performed in the year 1746 and 1747, in the ship California.<br />

London: Sold by Mr. Jolliffe [and others], 1748-49. 2 volumes, 8vo (7 3/4 x 4 7/8 inches). [2pp],<br />

[1]-326, [6pp], [12pp]. 10 engraved maps and plates. Expertly bound to style in period speckled<br />

calf, spine with raised bands in compartments, morocco lettering piece in the second compartment.<br />

A rare and important narrative of an early exploratory expedition in Hudson’s Bay in search of the Northwest<br />

Passage.<br />

The expedition was dispatched by the North West Committee in 1746 as part of an attempt to verify the<br />

assertions of Arthur Dobbs and Christopher Middleton in the quest for a passage. The two ships which made<br />

up the expedition examined Wager Bay and wintered at the Hudson’s Bay Company’s York Factory. Streeter<br />

describes this anonymously authored work, which is rarely seen on the market, as a “significant item in the<br />

literature relating to attempts at finding the Northwest Passage ... it tells of a voyage undertaken to sustain<br />

Arthur Dobbs’ claim that a northwest passage existed leading from Hudson’s Bay.” The outcome was to prove<br />

the opposite. Among the illustrations is a plate of an Indian in a kayak, and another shows an Indian tent<br />

and equipment. TPL and Sabin call for only five maps; though some copies, like the present, contain six.<br />

Streeter 3640; European Americana 748/54; Sabin 82549; TPL 206; JCB (3)I:872.<br />

(#24751)<br />

$ 45,000


17<br />

DRTIKOL, Frantisek (1883-1961).<br />

Les Nus de Drtikol. Preface de Claude de Santeul.<br />

Paris: Librairie des Arts Decoratifs, A. Calavas Éditeur, [1929]. Small folio (15 1/2 x 11 3/4 inches).<br />

Half title. 4pp. preliminary text. 30 photogravure plates, printed on Arches. Contents loose as<br />

issued. Grey paper boards portfolio to style, original printed label affixed to the upper cover, original<br />

endpapers. Black cloth slipcase.<br />

A masterpiece of Czech Avant Garde photography.<br />

“Drtikol became an innovator of Czech photography and one of the most important pictorialist photographers<br />

... Drtikol is considered to be the founder of modern Czech photography ... [He] developed a specific form<br />

of pictorialist photography, the goal of which was to lift photography to the level of art by depicting ‘noble’<br />

subject matter ... In nude photography he wanted to show not only the body but also the soul ... In 1920,<br />

under the influence of ‘straight photography’ Drtikol’s concept of nude photography changed. Gradually he<br />

gave up the complicated noble print, of which he was the undisputed master in Prague, and devoted himself<br />

above all to the pigment print. Drtikol placed and lit his nudes in front of geometrically arranged window<br />

blinds in such a way that the body forms were emphasized ... [Drtikol’s] nude photographs taken between<br />

1910 and 1930 were considered to be revolutionary, sensitive and absolutely modern” (Milan Chlumsky, in<br />

Encyclopedia of Twentieth Century Photography).<br />

Drtikol championed photography as a medium of self-expression. Although his highly erotic images caused<br />

some public outcry resulting in withdrawal from various exhibitions, his work was critically acclaimed.<br />

“Drtikol’s work peaked in the years 1927-1929 when he created an exceptional number of masterpieces”<br />

(Birgus, Czech Photographic Avant-Garde 1918-1948, pg. 39). The present scarce photobook, from that<br />

very period, is thus a critical work of the movement.<br />

Cf. Birgus, Czech Photographic Avant-Garde 1918-1948 (Massachusetts Institute of Technology, 2002).<br />

(#26785)<br />

Sold


18<br />

DU HALDE, Jean Baptiste (1674-1743).<br />

Description géographique, historique, chronologique, politique et physique de l’Empire de la Chine et<br />

de la Tartarie.<br />

Paris: Le Mercier, 1735. 4 volumes, folio (16 3/4 x 11 1/8 inches). Titles printed in red and black<br />

with engraved vignettes by M. Baquoy after A. Humblot, half-titles. 65 engraved maps and plates (62<br />

folding, 1 page of engraved sheet music, 2 single-page plates) by Delahaye, Desbrulins, and Fonbonne<br />

after d’Anvillee, Humblot, Lucas, Le Parmentier and others, 4 engraved head-pieces after Humblot,<br />

occasional engraved initials. (Occasional small neat repairs). Contemporary French mottled calf,<br />

expertly rebacked to style, spine with raised bands in seven compartments, red and black morocco<br />

lettering pieces in the second and third, the others with a repeat overall decoration in gilt, red stained<br />

edges, marbled endpapers. Provenance: Francis B. Forbes (1839-1908, signature on front endpapers).<br />

The first edition of Du Halde’s celebrated and comprehensive history of China and the most important<br />

cartographic record of the region from the eighteenth century. The work is further noted as a cornerstone of<br />

northwest Americana, as it contains the earliest printed record of Bering’s first expedition with the earliest map<br />

of any portion of present-day Alaska.<br />

In 1685, seeking to capitalize on failing relations between China and the Portuguese (i.e. papal) missionaries<br />

over the rites controversy, Louis XIV sent six French Jesuits to China as scientific emissaries. These early<br />

French missionaries would launch incredible interest in France for all things related to China.<br />

In 1735, Jesuit priest and historian Jean Baptiste Du Halde was given the monumental task of collating and<br />

editing the published and manuscript accounts of Jesuit travellers in China into a single work. Du Halde<br />

prominently cites the names of twenty-seven missionaries who served as his primary sources, including


Martini, Verbiest, Bouvet, Gerbillon and others. The range of the work is impressive. Not only does du<br />

Halde cover the geography, history, culture and religion of China proper, but geographically he extends the<br />

coverage of the work to include neighboring countries.<br />

The important maps within Du Halde’s work are by Royal geographer Jean Baptiste Bourguignon d’Anville<br />

(1697-1782). Based on surveys conducted by French Jesuits at the behest of the Emperor Kang Hsiand, the<br />

work constitutes the first scientific mapping of China and forms the most important cartographic record of<br />

the region from the eighteenth century. The work also contains the first separate printed map of Korea and<br />

the first detailed survey of Tibet.<br />

The first volume of Du Halde’s history comprises a general description of China, describing each province as<br />

well as each historical dynasty; the second volume encompasses government, law, commerce, art, literature,<br />

etc.; the third volume treats religion and science; the final volume expands the work to include neighboring<br />

regions (Mongolia, Tibet, Korea, etc,) and with accounts of late 17th century expeditions.<br />

Within the final volume (pp.452-458), although not listed in the Contents, appears “Relation succinte du<br />

voyage du capitaine Beering dans la Sibérie” -- the first published account of Bering’s first expedition through<br />

the straits that now bear his name. The text is accompanied by an attractive map, titled “Carte des pays<br />

traversees par le Capne. Beering depuis la ville de Tobolsk jusqu’ Kamtschatka”, considered the first printed<br />

map of any portion of present-day Alaska (i.e. St. Lawrence Island).<br />

Lada-Mocarski writes: “The first French folio edition of 1735 is the most desirable and significant. Its


importance lies in the Relation succinct ... which is, in abbreviated form, Bering’s report of his first expedition.<br />

It had not been published previously and the history of its getting into Du Halde’s hands is interesting. On<br />

Bering’s return to St. Petersburg in March 1730 he brought with him a brief report accompanied by a map.<br />

This map (and presumably the report) was sent to the king of Poland as a suitable present. The Polish king,<br />

in turn, gave the documents to the Jesuit Du Halde with permission to use them as he saw fit. Thus, the first<br />

printed report of Bering’s 1725-28 expedition burst upon the world in the French work herein described.<br />

It was not until much later that a more complete narrative of this historical event was published in Russia.”<br />

This set with American provenance to businessman and botanist Francis “Frank” B. Forbes (1839-1908), a<br />

noted China merchant active in the opium trade and the author of Enumeration of all the Plants known from<br />

China Proper (1886-1905).<br />

De Backer & Sommervogel IV:35; Brunet II:870; Cordier I:45-8; Cox I:355; Lust 12; Lada-Mocarski 2; Wickersham 6099;<br />

Löwendahl 394.<br />

(#26113)<br />

$ 55,000


19<br />

DUPRÉ, Louis (1789-1837).<br />

Voyage a Athènes et a Constantinople, ou Collection de Portraits, de Vues et de Costumes Grecs et<br />

Ottomans, Peints sur les Lieux, d’apres Nature.<br />

Paris: Impremerie de Dondey-Dupré, 1825. Folio (23 1/2 x 17 1/2 inches). Half-title. 40 handcoloured<br />

plates, lithographed by Motte and Lemercier, plus 12 lithographed illustrations in the text.<br />

(Lacks the double-page passport plate). Expertly bound to style in half red morocco over period<br />

marbled paper covered boards, spine gilt.


“Probably the most beautiful [book] ever produced on Greece and Turkey” (Blackmer).<br />

In this famous work, Dupré, a pupil in David’s studio, records his experiences during his six month travels<br />

in the Levant in 1819. “Dupré had been established in Italy for some years when he was invited to join a<br />

group of three young Englishmen - Hyett, Hay and Vivian - on a tour of Greece and Turkey... [He] was wellreceived<br />

in Greek society and had contacts with Fauvel, Gropius, Maitland, etc. His book, probably the most<br />

beautiful ever produced on Greece and Turkey, records his experiences mainly in portraits of the people he<br />

met, Greeks, Turks and Franks, as well as views of the major Athenian monuments of antiquity” (Blackmer).<br />

Most of the fine portraits were of the people Dupre met during his journey, including Greek princes and<br />

many of the wealthy Armenian elite, and the fine colouring of the plates is said to be due to Dupre himself.<br />

The beautifully hand-coloured plates are justly celebrated for their depictions of the landscapes and peoples<br />

encountered and is among the most desirable colour plate books on the region.<br />

Blackmer 517; Droulia 901; Weber I, 131; Atabey 381; Bobins, The Exotic and the Beautiful I:137; Colas 916.<br />

(#26264)<br />

$ 110,000


20<br />

ELLIOT, Daniel Giraud (1835 -1915).<br />

A Monograph of the Bucerotidae, or Family of the Hornbills.<br />

[New York]: printed by Taylor & Francis of London, published for the subscribers by the author,<br />

1877-1882. 1 volume bound from the ten original parts, folio (14 3/4 x 11 1/8 inches). 60 lithographic<br />

plates printed by M. & N.Hanhart (comprising: 57 plates by and after John Gerrard Keulemans, all<br />

hand-coloured by Mr. Smith, 3 uncoloured plates by and after Joseph Smit), occasional uncoloured<br />

illustrations. Near-contemporary green half morocco, spine in six compartments with raised bands,<br />

lettered in gilt in the second and third, date in gilt at foot of spine, original brown paper wrappers to<br />

all ten parts bound at the back, top edge gilt.<br />

A fine copy of the first edition of this “comprehensive treatment of the entire family of hornbills” (Zimmer) from<br />

one of the best known American ornithologists of the second half of the nineteenth century, with illustrations by<br />

Keulemans, the most popular ornithological artist of the period.<br />

This is the important first monograph on this widely scattered family of extraordinary birds. “The Bucerotidae<br />

are pretty equally divided at the present day between the Ethiopian and Oriental Regions, the first having<br />

twenty-seven and the latter twenty-nine species, while but a few... are scattered about the islands of the Malay<br />

archipelago” (introduction). Hornbills are extraordinary not only for their physical appearance but also for<br />

their behavior - the most noteworthy shared trait amongst the species is the male’s habit of “enclosing the<br />

female in the hollow of some tree, firmly fastening her in by a wall of mud, and keeping her close prisoner<br />

until the eggs are hatched” (introduction). The male will feed the female through a slit in the wall whilst<br />

she incubates the eggs. She will only break through the wall of mud and leave the nest once the young have


hatched, at which point the wall is rebuilt and remains in place until the young are ready to fly. The bizarre<br />

beauty of this species is here ably captured by Keulemans highly accurate and beautifully observed plates.<br />

Keulemans was born in Rotterdam, Holland, in 1842, but worked and lived chiefly in England, working on<br />

most of the important ornithological monographs and periodicals published between about 1870 and his<br />

death in London in 1912. He was “undoubtedly the most popular bird artist of his day as well as being the<br />

most prolific. He was gifted with a superb sense of draughtsmanship and revealed his considerable versatility<br />

in capturing the significant subtleties of color, form, and expression in the birds... represented in his various<br />

illustrations” (Feathers to brush p. 47)<br />

BM(NH) I,p.522; Fine Bird Books (1990) p.95; T. Keulemans & J. Coldewey, Feathers to brush... John Gerrard Keulemans, 1982,<br />

p.61; Nissen IVB 297; Wood p.331; Zimmer p.207<br />

(#16801)<br />

$ 24,000


21<br />

EMPSON, Charles (1794-1861).<br />

Narratives of South America; illustrating Manners, Customs, and Scenery.<br />

London: Printed by A. J. Valpy ... and published for the author by William Edwards, 1836 [plates<br />

watermarked 1836]. Small folio (14 1/8 x 10 1/2 inches). 15 hand-coloured plates (14 being<br />

watercolour over etched line after Empson, 1 engraved plate printed in sepia and hand-coloured<br />

after Sowerby). Later three quarter crimson crushed morocco over marbled boards by Riviere & Son,<br />

marbled endpapers, t.e.g.<br />

One of very few large-paper, deluxe copies with all the plates beautifully hand-coloured: among the rarest South<br />

American colour plate books.<br />

In 1824, Charles Empson, at the age of 29, left England for South America, exploring the northern section<br />

of the continent in what is now Columbia. Empson’s preface gives some indication of his motivations for<br />

travelling abroad: “The glorious descriptions of Humboldt had induced many persons who had no other<br />

motive beyond that of beholding Nature in all her majesty, to explore these regions so gorgeously clothed<br />

in primaeval vegetation and so abundant in every production interesting to mankind.” The text, divided<br />

into twelve “narratives,” discuss the geography, natural history and natives of the region. The plates, after<br />

drawings by Empson himself, aptly portray the grandeur of the scenery he describes.<br />

Three issues of this work seem to have been produced: 1) an octavo text (containing two natural history<br />

plates) and a separately-issued portfolio of 14 plates (12 being coloured etchings, and 2 being coloured<br />

lithographs), with the plates trimmed and mounted to card, produced and sold by Ackermann [e.g. Abbey<br />

702]; 2) a large-paper text bound with the 14 plates, all uncoloured [e.g. Tooley 210, incorrectly referring to


his as a later issue]; and 3) a deluxe issue, as in the present copy, with a large-paper text with 15 plates entirely<br />

hand coloured (14 being watercolour over etched line [the two lithographed plates from the portfolio issue<br />

being substituted for superior etched plates], and a hand-coloured, colour-printed engraving [one of the<br />

natural history plates from the octavo text, but printed in colours on large paper and hand-coloured]). This<br />

final issue is the rarest and was likely produced in only a handful of copies.<br />

Cf. Tooley 210; cf. Abbey, Travel 702; cf. Sabin 22548; cf. Bobins, The Exotic and the Beautiful 808.<br />

(#26327)<br />

$ 30,000


22<br />

FIELDING, Theodore Henry (1781-1851).<br />

Cumberland, Westmoreland, and Lancashire<br />

Illustrated, in a series of forty-four engravings,<br />

exhibiting the scenery of the Lakes, antiquities,<br />

and other picturesque objects.<br />

London: Printed for Thomas M’Lean by<br />

Howlett and Brimmer, 1822 [pre-publication<br />

watermarks]. Folio (16 x 11 inches). Half-title.<br />

44 fine hand-coloured aquatint plates by and<br />

after Fielding. Near contemporary red morocco,<br />

covers with an elaborate gilt border composed of<br />

roll tools and small tools and decorated with oval<br />

black morocco inlays, with a central decoration<br />

in gilt, spine in six compartments with raised<br />

bands, lettered in the second compartment,<br />

the others with an overall repeat decoration in<br />

gilt with central black morocco inlays, marbled<br />

endpapers, t.e.g.<br />

A very fine deluxe, large paper copy of one of the<br />

greatest early-19th century celebrations of the beauties<br />

of the Lake District and one of the most beautifully<br />

coloured English aquatint books of the 19th century.<br />

The vogue for the picturesque had first been stimulated in Britain in the late<br />

18th century. The writer William Gilpin was amongst the first to point out to<br />

the English that it was unnecessary to venture abroad to encounter spectacular<br />

landscape and scenery. Coleridge and Wordsworth, the Lake poets, narrowed<br />

the search still further by extolling the superior beauty of the area of north-west<br />

of the north of England known as the Lake District. “The beautiful Scenery<br />

of the Lakes becoming every year more the object of attraction and admiration<br />

- and its delightful views and salubrious air having effected a change in the<br />

taste which preferred Continental pleasures to those of our own Country,<br />

the Publisher has been induced to present this volume as illustrative of the<br />

interesting views with which the Tourist will be gratified” (Address).<br />

As with many English colour plate books from the period, the large paper<br />

copies are far more finely produced than their regular counterparts. Besides<br />

the exquisite binding and larger margins, the hand colouring of the large paper<br />

issue is vastly superior. The colouring of the large paper issue is luminescent,<br />

with rich golden hues not found in the regular edition, making this issue not<br />

only one of the great works on the scenery of the region but also an important<br />

example of colour plate book production at the zenith of the colour aquatint.<br />

Abbey, Scenery 194; Prideaux p.335; Tooley (1954) 215; Bobins, The Exotic and the Beautiful<br />

645<br />

(#26328)<br />

$ 6,500


23<br />

[GOSDEN, Thomas (1780-1840)].<br />

Impressions of a Series of Animals, Birds, &c. Illustrative of British Field Sports: from a set of silver<br />

buttons, drawn by A. Cooper, Esq. R.A. and engraved by Mr. John Scott.<br />

London: printed for J.H. Burn and R. and S. Prowett, 1821. 8vo (9 1/4 x 6 1/4 inches). 4pp.<br />

advertisements at end, 15 leaves printed recto only, each page with decorative border. Engraved<br />

additional title by Scott, 16 engravings (proofs) by Scott after Cooper, each on a circular disc of india<br />

paper mounted in position within a decorative wood-engraved surround (comprising 2 head-pieces<br />

[the first including the reversed initials ‘T.G.’], 2 tailpieces, 12 illustrations), the final leaf with a<br />

wood-engraved tailpiece. Contemporary russia by Lloyd tooled to a design by Thomas Gosden (with<br />

his initials ‘T.G.’ incorporated into the powder flask tool on both covers), covers elaborately panelled<br />

in gilt and blind, with outer gilt border of double fillets and an arabesque roll, inner panel tooled in


lind with a neo-classical palmate roll, the large elaborate central panel edged with a small Greek-key<br />

roll in blind and a single gilt fillet with a triangular area above and below elaborately tooled in blind,<br />

the central panel blocked in blind with sixteen circular panels of two different sizes, interspersed with<br />

scrolling, fruiting foliage in blind, the sixteen circular panels each tooled with single gilt vignette,<br />

most to a design which has an equivalent amongst the internal illustrations, the spine divided into<br />

five compartments with semi-raised bands, the second compartment black-stained and tooled in<br />

gilt, the others with gilt surround and gilt-tooled vignette of either a hawk or a stag, red endpapers.<br />

Provenance: Hayne (early ink inscription on front free-endpaper); William Loring Andrews (1837-<br />

1920, armorial bookplate); David Wagstaff (leather book label).<br />

First edition of this extraordinary production, with plates printed from buttons: this copy from the collection<br />

of one of the founders of the Grolier Club and the author of one of the earliest works on Gosden, “English XIX<br />

Century Sportsman, Bibliophile and Binder of Angling Books” (New York, 1906).<br />

Schwerdt had two copies of this very rare work and described his morocco-bound copy, which is closest to<br />

the present example, as a large paper copy with “proof impressions on India paper.” The British Library also<br />

has two copies, both of which are the same size as the present example. Both are bound in calf with tooling<br />

that appears to be identical to both the Schwerdt copy and the present work. One of the British Library<br />

copies (Davis 261) includes the ticket of the binder Lloyd.<br />

The presence of this ticket and the identical nature of the tooling seem to suggest that Lloyd, probably<br />

working to Thomas Gosden’s design, was the binder of the present work. However, Gosden, who described<br />

himself as a “Bookbinder, Publisher, and Bookseller,” was undoubtedly responsible, either as a binder or a<br />

designer, for some of the most characteristic and recognisable bindings of the period, and the present work<br />

is a prime example. According to Howard Nixon, Loring Andrews (an earlier owner of this work) “was<br />

doubtful whether Gosden was a binder himself, but Ellis Howe’s researches make it clear that he was” (Five<br />

Centuries of English Book Binding, p.198). This was supported by Ramsden’s work.<br />

Schwerdt explains the genesis of the present work: “It appears that John Scott when spending an evening in<br />

the company of Thomas Gosden, noticed in ‘Some Sporting Intelligence from St. Helena’ that Bonaparte was<br />

accustomed to wear a jacket possessing silver buttons, embellished with sporting designs, and addressing his<br />

companion [Scott] said, ‘Gosden, if you will be at the expense of a set of silver buttons, I will engrave them<br />

and will stake ten times their value that they will beat the Emperor’s buttons as perfect representations of<br />

the various animals of the chase.’ Scott’s offer was accepted and an inspection of this charming little book<br />

shows how the artists made good his word” (Hunting, Hawking, Shooting vol.I, p. 213). Gosden notes in<br />

the ‘Advertisement’ of the present work that “To obtain impressions from an engraved button ... has never<br />

succeeded till the present moment, and here it has been admirably performed. The Animals, Birds, &c. were<br />

drawn on the surface of the Buttons by ... Cooper ... and the engraving, in the most masterly manner, by ...<br />

Scott, whose celebrity in this line of art is sufficiently well known. The accompanying notices attached to<br />

each subject, are extracted from Bewick and Daniel”.<br />

Cf. British Library, online “Database of Bookbindings”, shelfmarks ‘c48g12’ and ‘Davis261’; W. Loring Andrews. An English XIX<br />

Century Sportsman, Bibliophile and Binder of Angling Books ; cf. Ellis Howe A List of London Bookbinders, 1648-1815 (1950)<br />

p.41; cf. H.M. Nixon Five Centuries of English Bookbinding 88; cf. C. Ramsden London Bookbinders p. 73; Schwerdt IV, p.40 (and<br />

see plate on facing page) and cf. I, p.213.<br />

(#20735)<br />

$ 9,500


24<br />

GOULD, John (1804-1881).<br />

A Monograph of the Trogonidae, or Family of Trogons.<br />

London: published by the Author, [1858]-1875. Folio (21 1/2 x 14 1/2 inches). 47 hand-coloured<br />

lithographed plates after and by John Gould and W. Hart; and John Gould and H.C. Richter, printed<br />

by Hullmandel & Walton. Period full dark brown crushed morocco, covers elaborately bordered in<br />

gilt, spine in six compartments with raised bands, lettered in the second and fourth, the others with<br />

an overall repeat decoration in gilt, marbled endpapers, gilt edges.<br />

Revised and expanded second edition of Gould’s monograph on trogons, including the most beautiful depictions<br />

of these colourful tropical birds.<br />

As Gould states in his preface, this revised and expanded edition was “in reality a new publication, the<br />

plates having been redrawn, and many (i.e. 12) new species figured for the first time.” The depiction of the<br />

birds is more elaborate than the first edition of 1838, with artfully arranged perches of tropical plants and<br />

occasional background landscapes. “The Trogons may dispute the palm of beauty with the Hummingbirds.<br />

Their plumage in certain parts shines with metallic brilliancy, and exhibits all the colours of the rainbow”<br />

(Introduction).The trogons depicted within this monograph are largely species resident of the Americas,<br />

including Mexico, Panama, Columbia, and Brazil.<br />

Anker 171; Fine Bird Books (1990), p. 101; Nissen IVB 381; Wood p. 365; Zimmer p. 261; Sauer 21.<br />

(#26805)<br />

$ 47,500


25<br />

HAY, Robert (1799-1863); and Owen Browne CARTER (1806-1859).<br />

[Illustrations of Cairo].<br />

[London: Tilt and Bogue, 1840]. Folio (20 7/8 x 14 1/4 inches). Lithographed throughout: 2 colour<br />

title, uncoloured dedication to Edward William Lane, 30 tinted lithographic views on 29 sheets, by<br />

T.S. Boys, T. Bourne, J.C. Bourne and L. Haghe, after Owen B. Carter, C. Laver and Hay, printed by<br />

Hullmandel, Day & Haghe or M. & N. Hanhart. Without the letterpress title (as in the Abbey copy).<br />

Expertly bound to style in half green morocco over period green cloth covered boards, the flat spine<br />

in six compartments divided by gilt double fillets, lettered in the second compartment.<br />

A fine copy of this great topographical work and worthy precursor to David Roberts.<br />

Robert Hay was one of the most fascinating figures in early Egyptian archaeology and exploration. “He was<br />

in Egypt as one of the leading members of an archæological expedition between 1826 and 1838. Among<br />

his companions were the artists Arundale, Catherwood, J. Bonomi the younger, and E. W. Lane. Besides<br />

Egyptian antiquities presented to the British Museum, there are in the department of manuscripts there<br />

forty-nine large volumes of archæological and other drawings made during this expedition ... and also part<br />

of Hay’s own diary ... In 1840 Hay published a folio volume of ‘Illustrations of Cairo,’ lithographed by J. C.<br />

Bourne from drawings by O. B. Carter and others. Some of the original drawings for this work are in the<br />

print room at the British Museum” (DNB).<br />

Abbey Travel I. 270; Blackmer 794; Gay 2497; Ibrahim-Hilmy I, p.292.<br />

(#26154)<br />

$ 12,500


26<br />

HEINE, Wilhelm (1827-1885).<br />

Graphic Scenes in the Japan expedition.<br />

New York: Putnam, 1856. Large folio (20 1/4 x 15 inches). 12 leaves letterpress text. 10 lithographic<br />

prints on proof paper, tipped onto bristol board (one tinted portrait of Perry from a daguerreotype<br />

by P. Haas, nine views by Heine printed in colours and finished by hand) all printed by Sarony & Co.<br />

Publisher’s wrappers within half dark maroon morocco over publisher’s cloth portfolio. Housed in a<br />

modern red morocco backed box.<br />

The very rare deluxe coloured issue on card of this important work recording Commodore Perry’s expedition to<br />

Japan.<br />

Evidence of the rarity of this album is given by Bennett writing in 1947: “Obviously several copies must have<br />

been preserved, but the one described seems to be the only one yet offered for public sale.” William Heine<br />

was the official artist of Commodore Matthew C. Perry’s expedition to Japan in 1853-54. On returning to<br />

the United States he produced several series of prints commemorating the trip. A group of six elephantfolio<br />

prints appeared in 1855, and the following year the present volume was issued, in a smaller format,<br />

with different images and with explanatory text. Both projects employed the New York lithographic firm<br />

of Sarony, probably the best lithographers in the United States at that time. “As artistic productions, the<br />

pictures speak for themselves ... none superior to them have been executed in the United States, and they


have no cause to shun comparison with some of the best productions of Europe” (Introduction). Copies were<br />

produced on regular paper and in the deluxe form, as in the present copy, mounted on bristol board and<br />

beautifully finished by hand.<br />

The plates are numbered and titled as follows [1. portrait of Perry]; 2. Macao from Penha Hill; 3. Whampoa<br />

Pagoda; 4. Old China Street, Canton; 5. Kung-kwa at On-na, Lew-Chew; 6. Mia or road side chapel at<br />

Yokuhama; 7. Temple of Ben-teng in the harbor of Simoda; 8. Street and bridge at Simoda; 9. Temple of the<br />

Ha-tshu Man-ya-tshu-ro at Simoda; 10. Grave yard at Simoda Dio Zenge.<br />

Bennett describes the plates as “many times finer than those in the regular account of the Perry expedition.”<br />

His remarks on the work’s great rarity are confirmed by its absence from both the Abbey catalogue and<br />

Cordier’s Japanese bibliography.<br />

Bennett, p.53. McGrath, American Color Plate Books 123.<br />

(#26330)<br />

$ 37,500


27<br />

HITTORFF, Jacques Ignace (1792-1867).<br />

Restitution du Temple d’Empédocle a Sélinote, ou l’Architecture Polychrome chez les Grecs ... Atlas.<br />

Paris: Typographie de Firmin Didot Frères, 1851. Atlas only, folio (23 7/8 x 16 3/4 inches).<br />

Letterpress title and list of plates. Chromolithographed title, 24 chromolithographed plates after<br />

Hittorf, chromolithographed by Engelmann et Graf. Publisher’s dark purple cloth boards, upper<br />

cover with large decoration in gilt, rebacked to style with dark purple morocco.<br />

The discovery of the use of color in ancient Greek architecture.<br />

A German-born French architect, Hittorf went to Paris in 1810 and studied for some years at<br />

the Académie des Beaux-Arts while working concurrently as a draughtsman for Charles Percier. In<br />

1822, he traveled to Italy and began research into the theory that ancient Greek architecture was coloured.<br />

Upon a visit to Sicily, Hittorf discovered traces of painted stucco at Selinus. “When they unearthed a small<br />

heroön (martyrion) from temple B on the Selinontan acropolis, they concluded that Greek architecture must<br />

have been brightly painted ... In1851 Hittorff published his Restitution du Temple d’Empédocle a Sélinote,<br />

ou l’Architecture Polychrome chez les Grecs, which, using the temple of Empedocles, at Selinus, Italy as<br />

the example, set out their findings of classical polychromy in full. The book contained for the first time<br />

anywhere a reconstruction of a temple with the brightly colored painting adorning it. Their work gained<br />

general acceptance and is considered the foundation to the color theory of Greek architecture” (Dictionary<br />

of Art Historians).<br />

The work is quite rare: only one other copy, also lacking the separate octavo text volume as here, has appeared<br />

at auction in the last 30 years, and with no copy in the famed collections of Blackmer or Atabey.<br />

(#26332)<br />

$ 7,500


28<br />

HODGES, William (1744-1797).<br />

Select Views in India, drawn on the spot, in the years 1780, 1781, 1782, and 1783, and executed in aqua<br />

tinta, by William Hodges.<br />

London: printed for the author, and sold by J.Edwards, [1786-1787]. Imperial folio (22 1/4 x 17<br />

inches). Title and text in English and French. 1 uncoloured engraved map, 48 aquatint plates, printed<br />

in two or more colours, all hand-coloured to resemble watercolours, by and after William Hodges.<br />

Contemporary red straight-grained morocco gilt by Staggemeir & Welcher, covers with elaborate<br />

border formed from an outer border of a palmette and anthemion roll flanked by fillets with<br />

cornerpieces of various small tools centered around a star, and an inner border of stylized scrolling<br />

foliage, flower-heads and barley sheaves with large circular tools at each corner, expertly rebacked to<br />

style, the spine in eight compartments with double raised bands, the others with repeat decoration<br />

of various small tools around a central Apollo sun-burst tool, the head and foot of the spine with<br />

areas decorated with an assortment of horizontal decorative rolls, gilt turn-ins, marbled endpapers,<br />

morocco hinges, gilt edges. Provenance: Thomas Greer (armorial bookplate).<br />

A fine copy of the very rare hand-coloured issue of Hodges’ pioneering work on the architectural and picturesque<br />

wonders of India. One of the greatest of all colour-plate books, this copy in a lovely binding by the most<br />

fashionable London binders of the time.<br />

This work, the main fruit of Hodges six year stay in India, was published with the plates in three separate forms:<br />

uncoloured, uncoloured proofs or with the plates hand-coloured to resemble the original watercolours, as<br />

here. The images were printed lightly in a single operation using two (sepia and blue) or more colours applied<br />

where desired to a single plate. These prints were then coloured by hand (probably by Hodges himself) with<br />

great freedom but with careful attention being paid to achieving a depth of colour and shading only possible<br />

through the repeated over-painting of contrasting pigments. The results are in a different class to some of the<br />

more pedestrian mass-produced works of the period and have all the idiosyncratic vibrancy of the original<br />

watercolours. They also offer an accurate reflection of the astonishment and wonder that Hodges felt on<br />

arriving in India in early 1780: “The clear blue cloudless sky, the polished white buildings, the bright sandy<br />

beach, the dark green sea, present a combination totally new to the eye of an Englishman, just arrived from<br />

London, who, accustomed to the sight of rolling masses of clouds floating in a damp atmosphere, cannot but<br />

contemplate the difference with delight.”<br />

Born in London the son of a blacksmith, William Hodges was employed as an errand-boy in Shipley’s<br />

drawing school, where in his spare time he learned to draw. The landscape painter Richard Wilson (1714-<br />

1782) noticed him and took him on as his assistant and pupil, and by 1766 Hodges was exhibiting in his own<br />

right. In 1772, through the interest of Lord Palmerston (1739-1802) a member of the board of Admiralty, he<br />

was appointed as draughtsman to Captain James Cook’s second expedition to the South Seas. He returned in<br />

1775 and was employed by the Admiralty in working up his drawings of the expedition and in supervising<br />

the engraving of the plates for Cook’s published account of the expedition. He exhibited a number of pictures<br />

inspired by the voyage at the Royal Academy in London in 1776 and 1777.<br />

Life in London must have seemed quite restrained after his South Sea experiences, and after ending his<br />

contract with the Admiralty and following the death of his wife, he left for India in 1778. “But the first year<br />

in India was disappointing. Hodges health was poor and the Second Mysore War ... was in progress ... he was<br />

confined to Madras and its immediate environs. On moving to Calcutta in February 1781, however, he was<br />

to travel far more widely through the generosity and patronage of the Governor-General Warren Hastings ...<br />

During 1781 Hodges made two tours up-country with him during which he saw the ruins of many Muslim<br />

palaces, tombs and mosques. The next year he found a patron in Augustus Cleveland, a liberal administrator<br />

stationed at Bhagalpur in Bihar. Touring with him Hodges saw a very different India - the forested tracts


inhabited by an aboriginal people, the Paharias. During<br />

1783 he made a long expedition up-country to join Major<br />

Brown who was heading a diplomatic embassy to the<br />

Mughal Emperor. Hodges was now able to see the great<br />

Mughal monuments at Agra and Sikandra. He returned<br />

through Central India to Calcutta via Lucknow and left<br />

India in November 1783...” (India Observed).<br />

On his return to London, he exhibited 25 oil paintings of<br />

India at the Royal Academy, along with a selection of his<br />

aquatints. “All of these works gave a completely new and<br />

direct vision of India translated into an eighteenth century<br />

painter’s composition. His views of the countryside with<br />

its great rivers and forests had little in common with<br />

the popular picture of India gained from old engravings<br />

in the travellers’ accounts. His architectural subjects<br />

depicted many little-known Muslim tombs and mosques,<br />

Hindu temples, forts and palaces in Upper India...”(India<br />

Observed).<br />

Beyond the never-before-seen subject matter of the prints,<br />

Hodges proto-impressionistic style is worthy of particular<br />

note. “He conveyed the towering bulk of many Indian<br />

monuments by exaggerated proportions and foreshortened<br />

perspective. The countryside is shown rough with stunted<br />

scrub and windswept trees; paint is vigorously applied ...<br />

Here was a new and fresh approach to the Indian scene, viewing it in the ‘picturesque’ taste and presenting<br />

novel material, especially architecture, to the British public in a new manner” (India Observed ).<br />

The appearance of this work caused a sensation, as nothing of the scenery of India on this scale had been<br />

seen before. The useful text, though generally brief, gives a history of each site, together with an account of<br />

contemporary events in which the site had been involved. The binding is unsigned but a comparison of the<br />

tools on a number of signed bindings confirms that it is from the workshop of Staggemeir and Welcher, who<br />

are known to have worked extensively for the publisher Edwards. For example, the palmette and anthemion<br />

roll on the covers is found on the Botfield copies of John Miller’s Illustratio Systemis Sexualis Linnaei (London:<br />

[1770]-1777) and again on Abbot and Smith’s Natural History of the Rarer Lepidopterous Insects of Georgia<br />

(London: 1797). The same tools are also present on the Henry Davis copy of Thomas Birch’s The Heads of<br />

Illustrious Persons. London, 1756 in the British Library. The expense of the contents (an eye-popping 40<br />

pounds according to Brunet), allied to the luxurious nature of the binding clearly indicates that the original<br />

owner was a wealthy collector of note.<br />

Abbey Travel II, 416; cf. Mildred Archer, India Observed pp.8-10; Bobins, Exotic and the Beautiful I, 255; Brunet III, 242; cf. H<br />

de Almeida & G.H. Gilpin Indian Renaissance pp.114-126; Lowndes II, p.1079; cf. P. Rohtagi & P. Godrej, India A Pageant of<br />

Prints pp.37-47; cf. P. Rohtagi & G. Parlett, Indian Life and Landscape pp. 142-149; Tooley 264.<br />

(#25064)<br />

$ 110,000


29<br />

HOGARTH, William (1697-1764) and others, illustrators. - Ebenezer FORREST (d.1793).<br />

An account of what seemed most remarkable in the five days peregrination of the five following persons,<br />

viz. Messieurs Tothall, Scott, Hogarth, Thornhill, and Forrest. Begun on Saturday, May 27th, 1732, and<br />

finished on the 31st of the same month.<br />

London: Printed for R. Livesay, 1782. Oblong folio (11 1/2 x 17 1/2 inches). 9 hand-coloured aquatint<br />

plates by Richard Livesay after Hogarth (6) and Scott (3), proofs before all letters with imprints, titles,<br />

artist’s names and publication dates supplied in dark brown ink by a single contemporary manuscript<br />

hand, extra-illustrated with 16 variant plates (an additional suite of all nine of the plates in uncoloured<br />

aquatint printed in black, a third partial suite of six plates in uncoloured aquatint printed in bistre<br />

with open-letter titles, and a single example from a fourth state with the plate printed in black with<br />

open-letter title). Expertly bound to style in half 18th-century russia over contemporary marbled<br />

paper-covered boards, the flat spine divided into six compartments by gilt fillets and a greek-key roll,<br />

red/brown morocco lettering-piece in the second compartment, the others with repeat decoration in<br />

gilt. Provenance: Edward Cheney (1803-1884, armorial bookplate); Robert William Shipway (d.1928,<br />

Grove House, Chiswick, bookplate dated 1896).<br />

A unique example of a rare and early aquatint work, with plates after Hogarth present here in multiple states.<br />

Only two copies of this charming work are listed as having sold at auction in the past thirty years, and neither<br />

copy included any additional plates, as here. The text, in diary form, describes an excursion to the north<br />

coast of Kent that the 35 year-old Hogarth made with four friends. The journey, reminiscent of the fictional<br />

ramblings of Mr. Pickwick and friends, begins with the departure from London’s Covent Garden. They made


their way by boat down the Thames to Gravesend and then on foot to Rochester, then Chatham, then back<br />

to Rochester, along the banks of the Medway, then Upnor Castle, Sheerness, Queenborough, then by boat<br />

back up stream to Billingsgate in London. The account, written by Ebenezer Forrest, is enlivened with notes<br />

on the people they met, descriptions of the inns in which they stayed, the food and drink they consumed,<br />

and their high-jinks along the way. The text ends with a detailed account of the expenses incurred on the<br />

trip (6 guineas in total). The text also cross-references the fine plates, giving fascinating information about<br />

when the original drawings were produced. Six of the plates were from Hogarth’s drawings and three from<br />

drawings by Samuel Scott. Both the written account and the drawings remained unpublished at the time of<br />

Hogarth’s death in 1764. Ronald Paulson notes that Richard Livesay was employed from 1777 to 1785 by<br />

William Hogarth’s widow to produce authorised copies of “Hogarth’s drawings and some rare prints.” That<br />

the impetus which led to the production of the present work came from Mrs. Hogarth is not evident from<br />

the title (where she is not mentioned) but is alluded to in the imprint line to the plates: “Publish’d ... by Rd.<br />

Livesay at Mrs. Hogarths Leicester Fields.” The existence of multiple states of the plates are referred to by<br />

Lowndes, but are not mentioned by the later bibliographies.<br />

The provenance of the present copy is particularly interesting: Edward Cheney was a connoisseur and art<br />

collector of note, and Robert Shipway was a Hogarth aficionado who owned Hogarth’s country house in<br />

Chiswick, opened it to the public in 1904 and gave it to Middlesex County Council in 1907.<br />

Abbey Life 307 (with hand coloured aquatints); Bibliotheca Grenvilliana I, p.330; Cohen pp 156-7; Lowndes II, p.1082 (“These<br />

engravings occur in four states”); Prideaux p.340.<br />

(#22761)<br />

$ 16,000<br />

30<br />

HOME, Robert (1750-1836).<br />

Select Views in Mysore, the country of Tippoo Sultan; from drawings taken on the spot by Mr.Home;<br />

with historical descriptions.<br />

London: published by Mr. Bowyer ... the letter-press by T. Bensley, 1794. Royal quarto (13 3/8 x 10<br />

3/4 inches). Text in English and Perso-Arabic script. 29 copper-engraved plates by Fittler, Byrne and<br />

others after Robert Home, 4 folding maps and plans (one hand-coloured). Expertly bound to style in<br />

half calf over period grey paper covered boards, spine with raised bands in six compartments, ruled<br />

in gilt on either side of each band, lettered in the second compartment.<br />

The first edition of this early view book of India, recalling the power struggles which led to the British dominance<br />

of India in the 19th century.<br />

Home was instructed by Angelica Kauffmann when he attended the Royal Academy schools in 1769, and<br />

she encouraged his further studies in Rome between 1773-9. He subsequently worked as a portrait painter<br />

in Dublin, before returning to London in 1789. Home’s career took on a spectacular new direction with his<br />

departure for India in 1790. Arriving in January 1791, he established a highly successful portrait practice and<br />

worked mainly in Madras, Calcutta and Lucknow.<br />

He was also a very active watercolourist: a collection of his studies of wild life are now in the Victoria<br />

Memorial Hall in Calcutta, but it is his landscape work which is the basis for the present work. Home had<br />

arrived in India during what has become known as the Third Anglo-Mysore War (1789-92) and it is not<br />

unlikely that he left England with a commission from Bowyer to record the scenes of the action. The war<br />

took place in South India between the Kingdom of Mysore and the English East India Company. Tipu Sultan,<br />

the ruler of Mysore and an ally of France, invaded the nearby state of Travancore in 1789, which was a British<br />

ally. The resultant war lasted three years and ended in a resounding defeat for Mysore. France, embroiled


in the French Revolution and thwarted by British Naval power, was unable to provide as much assistance<br />

as Tipu had expected. The war resulted in a sharp curtailment of Mysore’s borders to the advantage of the<br />

Marathas, the Nizam of Hyderabad, and the Madras Presidency. The districts of Malabar, Salem, Bellary, and<br />

Anantapur were ceded to Madras Presidency. The war ended after the 1792 siege of Seringapatam and the<br />

signing of the Treaty of Seringapatnam according to which Tipu had to surrender half of his kingdom to the<br />

British company and send his two sons to them as the hostages of war. The present work is dedicated to the<br />

victorious commander in chief of the British forces in India, Marquess Cornwallis (1738-1805), who is now<br />

best known for surrendering to Washington at Yorktown.<br />

Home was subsequently employed as official Lucknow court painter to both King Ghazi and his successor,<br />

the Crown Prince Nazir-Ud-Din. In the tradition of court artists, he was again encouraged to employ the<br />

full range of his artistic abilities, not only for painting pictures, but also for designing crowns and regalia,<br />

furniture for the palaces, richly ornamental howdahs, carriages and pleasure boats. Many of the drawings for<br />

these are now in the Victoria and Albert Museum, London. Home died in India in 1836.<br />

Brunet III, 268; Cox I, 304; P. Godrej & P. Rohatgi Scenic Splendours India through the printed image pp.112-114; Indian Life<br />

and Landscape pp.116-125; Lowndes II, p.1095.<br />

(#26701)<br />

$ 2,750


31<br />

HOOKER, Sir Joseph Dalton (1817-1911).<br />

The Rhododendrons of Sikkim-Himalaya; being an account, botanical and geographical of the<br />

Rhododendrons recently discovered in the mountains of eastern Himalaya, from drawings and<br />

descriptions made on the spot, during a government botanical mission to that country, by Joseph Dalton<br />

Hooker... Edited by Sir W.J. Hooker.<br />

London: Reeve, Benham, & Reeve, 1849-1851. Folio (19 5/8 x 14 1/2 inches). Title with tinted<br />

lithographic vignette, 2 letterpress part titles, 1p. list of subscribers, 1p. preface to part II. Handcoloured<br />

lithographic frontispiece and 29 fine plates, drawn on stone by John Nugent Fitch from<br />

drawings by J.D. Hooker, printed by Reeve, Benham & Reeve (12), Frederic Reeve (4) and Reeve<br />

& Nichols (14). Original oatmeal morocco-grained cloth, covers blocked with double fillet border,<br />

the flat spine lettered in gilt ‘Rhododendrons of Sikkim-Himalaya’, g.e., contained within a modern<br />

brown cloth box, titled in gilt on a black morocco lettering-piece.<br />

A very fine copy of the rare second edition of this beautifully illustrated work on the Rhododendron family - “An<br />

important work for both the botanist and horticulturalist since it contains descriptions and plates of many of the<br />

best Rhododendron species...and an account of their discovery” (Great Flower Books).<br />

The Rhododendrons of the Himalayas amply demonstrate the adaptable nature of the plant kingdom: the<br />

species described vary from ground hugging ‘alpines’, to small shrubs, climbers, large shrubs and trees. For<br />

example: of the thirty-two species illustrated and described by Hooker in this important monograph, eight<br />

are described as trees by Hooker and vary in height from the ‘Rhododendron lanatum’ (a small tree), to the<br />

magnificent ‘R. Campbelliae’ and ‘R. barbatum’ at around 40 feet.<br />

The beautiful plates are amongst the best examples of the work of Walter Hood Fitch (1817-1892), one of the<br />

greatest botanical artists of the nineteenth century. Fitch had attracted the attention of Sir William Hooker<br />

(1785-1865) when he was working as an apprentice to a Glasgow firm of calico designers. `When Hooker<br />

was appointed Director of Kew Gardens, he carried his protégé south with him. That was in 1841: for the<br />

next fifty years Fitch remained at Kew, and his career is inseparably associated with those of Sir William<br />

and his son Joseph.’ (Great Flower Books 1990, p.46). ‘Fitch had the greatest competence of any botanical<br />

painter who has yet appeared in drawing the rhododendron’ (Great Flower Books). ‘In his lithographs he<br />

has captured the exuberant form and colour of these flowering shrubs.. Sometimes at the base of the plate,<br />

magnified views of the pistils, stamens and sections of the ovaries are presented. The first plate is unusually<br />

attractive because the plant... is shown in its native habitat, growing among the trunks of fallen trees against<br />

a hazy background of blue mountains.’ (Oak Spring Flora). Fitch remained the chief (and usually sole) artist<br />

for the Botanical Magazine for forty-three years, producing over 9000 drawings including some of the most<br />

memorable images of his age.<br />

The plates are all based on J.D. Hooker’s original drawings. Hooker spent several years exploring Sikkim, as<br />

well as parts of Nepal and Tibet. His field notes were sent to England from India to his father, Sir William<br />

Hooker, who edited the text for this work and contributed a preface giving an interesting overview of the<br />

discovery of the genus by western science. In addition to the many botanical discoveries that J.D. Hooker<br />

made during his exploration of the region, his ‘observations on the geology and meteorology of Sikkim<br />

are still fundamental, and he explained the terracing of the mountain valleys by the formation of glacial<br />

lakes.’ (DNB). A great many of the species of Rhododendron discovered and described here by Hooker were<br />

subsequently successfully introduced to western cultivation<br />

Cf. Blunt & Stearn The Art of Botanical Illustration p.264; cf. Bradley Bibliography II, p.676; Desmond The European Discovery<br />

of the Indian Flora p.144; cf. Great Flower Books (1990) p.101; cf. Nissen BBI 911; cf. Oak Spring Flora 104; cf. Stafleu & Cowan<br />

TL2 2969.<br />

(#21537)<br />

$ 22,500


32<br />

HUNTER, Dard (1883-1966).<br />

Papermaking in Southern Siam.<br />

Chillicothe, OH: Mountain House Press, 1936. Quarto (11 3/4 x 8 1/4 inches). Title in red and<br />

black, half title. Coloured woodblock frontispiece, 17 photogravure plates, 1 mounted Khoi tree bark<br />

sample, 1 mounted specimen of Siamese mould cloth, 3 double-page paper samples (two naturaltoned,<br />

one “sacred black temple paper”), 4pp. publisher’s prospectus loosely inserted. Original black<br />

morocco-backed decorated paper-covered boards by Peter Franck of Gaylordsville, CT, the black<br />

hand-made paper covering the boards printed in gold and red from old Siamese woodblocks.<br />

One of 115 copies numbered and signed by Hunter, this being copy 41. The rarest of the Dard Hunter monographs<br />

on primitive papermaking.<br />

“This book is an account of a sojourn with Tym, Piung, Pyn, and Luolin Niltongkum at their paper mill in<br />

Bangsom. The old Niltongkum family has been making paper by hand along the small canals of Southern<br />

Siam for more than two hundred years, and their unique establishment is probably the most interesting<br />

primitive paper manufactory in Asia. The compiler of this book was the first Occidental traveller to visit<br />

this little-known remote mill ... The book not only describes in detail the making of the various kinds of<br />

Siamese paper from the bark of the khoi tree (Steblus asper), but also an account is given of the journey from<br />

Singapore to Bangkok through the rubber plantations and jungles of the Malay Peninsula, a distance of over<br />

a thousand miles ... Only 115 copies of this volume have been made and of this number only 99 offered for<br />

sale. This is the smallest edition ever made of a Dard Hunter book” (Prospectus).<br />

Schlosser 37.<br />

(#23076)<br />

$ 8,500


33<br />

(INDIA).<br />

The Journal of Indian Art. Vol. I. Nos. 1-16. Illustrated by W. Griggs.<br />

[Calcutta: Thacker, Spink, 1886]. Small folio (14 3/8 x 10 5/8 inches). 175 plates (including many<br />

in colour and several double-page). Expertly bound to style in half red morocco over publisher’s<br />

red cloth covered boards, spine with raised bands in six compartments, lettered in gilt in the second<br />

compartment.<br />

The rare first volume of an important, profusely illustrated journal on the decorative arts of India.<br />

Sections within this Journal cover textiles, enamelling, architecture, carving, pottery, metalwork and more.<br />

“It is believed that a Journal of this kind may be as useful in establishing a higher standard of taste in Indian<br />

Art Manufactures as in serving the commercial purpose of popularizing Arts too frequently regarded as<br />

mere curiosities of craftsmanship” (Preface).<br />

The illustrations, printed in London, are significant in terms of their production and are discussed by<br />

Hardie: “For some time, Mr. Griggs was in charge of all the photo-lithographic work done for the Indian<br />

Government at Whitehall, and between 1860 and 1870 had opportunities of studying the new processes of<br />

photo-zincography ... Mr. James has since devoted his life-study to the reproduction of art objects by means<br />

of chromo-lithography assisted by photography. His first works were produced for the Indian Government,<br />

who were eager to promote a wider knowledge of Indian art manufactures, and to appeal to those interested<br />

in India to prevent the decline or degradation of its native industries ... Textiles of Kashmir, brass and copper<br />

of the Punjab, enamels of Jeypore, pottery from Mooltan -- these and kindred objects were reproduced by<br />

Mr. Griggs in chromolithographs of extraordinary beauty and fidelity” (Hardie).<br />

Hardie, pp. 255-256.<br />

(#26631)<br />

$ 3,600


34<br />

JACKSON, Sir Keith Alexander (1798-1843).<br />

Views in Affghaunistaun ... from sketches taken during the campaign of the Army of the Indus.<br />

London: published by W.H. Allen & Co. and T.M’Lean, [1841]. Folio (14 3/4 x 10 1/2 inches).<br />

Tinted lithographed title, uncoloured lithographed dedication “To The Chairman and Directors of<br />

the Honble the East India Company,” hand-coloured lithographed frontispiece, engraved map and<br />

26 tinted lithographed plates after Jackson by W. L. Walton, T. Allom and others. Publisher’s moire<br />

cloth boards, lettered in gilt on the upper cover, expertly rebacked to style, original yellow endpapers.<br />

A fine and rare record of the first Afghan War.<br />

An army of 21,000 troops under the command of Sir John Keane set out from the Punjab in December 1838<br />

with orders to take Kabul and replace the emir Dost Mohammad with Shah Shuja. By late March 1839, the<br />

British forces had reached Quetta, crossed the Bolan Pass and begun their march to Kabul. They advanced<br />

through rough terrain, crossed deserts and 12,000-foot-high mountain passes, but made good progress and<br />

took Kandahar on April 25, 1839. On July 22, in a surprise attack, they captured the until-then impregnable<br />

fortress of Ghazni, which overlooks a plain leading eastward into the North West Frontier Province: the<br />

British troops breached the defenses by blowing-up one of the city gates and, following some fierce fighting,<br />

marched into the city. In taking this fortress, they suffered 200 men killed and wounded, while the Afghans<br />

lost nearly 500 men. 1,600 Afghans were taken prisoner, and an unknown number were wounded. Following<br />

this, the British achieved a decisive victory over Dost Mohammad’s troops, led by one of his sons. Dost<br />

Mohammad fled with his loyal followers across the passes to Bamian, and ultimately to Bukhara. This first<br />

and most successful stage of the war ended in August 1839, when, after almost thirty years, Shuja was again<br />

enthroned in Kabul.<br />

The present work records this period in words and pictures and was published before the setbacks which<br />

led to the eventual decision by the British to withdraw from Afghanistan. Following the completion of this<br />

first campaign, Jackson, a Captain in the 4th Light Dragoons, was granted leave to return to Britain and was<br />

able to arrange for the publication of the present work. Although including some historical information<br />

and topographical description, the chief attraction of this fine work are the fine lithographed views. These<br />

include images referencing specific military engagements (enhanced by Jackson’s eye-witness descriptions),<br />

as well as general views of “Caubul” and other cities, forts and mountainous passes. Although some images<br />

show British officers, most include depictions of locals in native dress.<br />

A contemporary reviewer, in the Literary Gazette, writes: “A great dandy of Affghaun and a great gun of<br />

Ghuznee, as frontispiece and vignette, introduce us to these views, which embrace a variety of objects<br />

of Oriental interest-scenery, fortifications, storming attacks, ruins, minarets, travelling, costume, cities,<br />

navigation, tombs, and, in short, the most remarkable features in the territories lately invaded by the British<br />

army. They are executed on a large scale, and with a combined aspect of fidelity and spirit which strongly<br />

recommends them to our approbation. We should say, from comparison with other Eastern works of the<br />

same kind, that they are accurate in relation to truth and clever in relation to art” (Literary Gazette, 12 June<br />

1841).<br />

Following the publication of this work, Jackson returned to India and then to Kabul, where he died in 1842.<br />

Abbey Travel II, 506; Bobins The Exotic and the Beautiful I, 259.<br />

(#26764)<br />

$ 12,000


35<br />

JEFFERYS, Thomas (1719-1771).<br />

A Description of the Spanish Islands and Settlements on the Coast of the West Indies, Compiled from<br />

authentic Memoirs, Revised by Gentlemen who have resided many Years in the Spanish Settlements; and<br />

Illustrated with Thirty-two Maps and Plans, Chiefly from original Drawings taken from the Spaniards<br />

in the last War.<br />

London: T. Jefferys, 1762. Quarto (9 1/4 x 7 3/4 inches). 32 engraved folding maps (one handcoloured<br />

in outline). Bound to style in half tan calf over early marbled paper covered boards, spine<br />

with raised bands in six compartments, black morocco lettering piece in the second (endpapers<br />

renewed). Provenance: Richard Shuttleworth Streatfeild (armorial bookplate).<br />

First edition of a noted mid-18th century English work on Spanish America, illustrated with important maps<br />

of the region.<br />

This work was published just following the end of the French and Indian War when England’s attention was<br />

especially turned towards Spain’s Colonies in America. The work contains a long Introduction, and special<br />

accounts of each of the Colonies, Districts, and important cities. Among the most interesting of the contents<br />

are the accounts of Florida, Pensacola, and St. Augustine de la Florida. The charts are based on drawings<br />

captured from the Spaniards in the recently-ended war, concentrating on ports and seaboards likely to be of<br />

the greatest interest to opportunistic British merchants. Includes the following maps and plans: La Guaira,<br />

Puerto Cavello, Santa Martha, Cartagena, Zisapata Bay, Porto Bello, Chagre, Panama, Vera Cruz, Pensacola,<br />

St. Augustin, Cuba, Havana, various harbours in Cuba, St Domingo, and Porto Rico, among others.<br />

Phillips 3941; Sabin 35959<br />

(#26966)<br />

$ 13,000


36<br />

JOHNSON, Samuel (1709-1784).<br />

A Dictionary of the English Language: in which the words are deduced from their originals, and<br />

illustrated in their different significations by examples from the best writers. To which are prefixed, a<br />

history of the language, and an English grammar.<br />

London: Printed by W. Strahan for J. & P. Knapton, T. & T. Longman, C. Hitch & L. Hawes, A.<br />

Millar, and R. & J. Dodsley, 1755. 2 volumes, folio (16 3/8 x 9 3/4 inches). Titles in red and black,<br />

all but the preface set in two columns. Expertly bound to style in half 18th century russia over<br />

contemporary marbled paper covered boards, spines with raised bands in seven compartments,<br />

ruled in gilt on either side of each band, red and black morocco lettering pieces in the second and<br />

third compartments.<br />

First edition of Johnson’s Dictionary. This work has at various times been called “the most important British<br />

cultural monument of the eighteenth century” (Hitchings); “the only dictionary [of the English language]<br />

compiled by a writer of the first rank “ (Robert Burchfield) and first genuinely descriptive dictionary in any<br />

language. “Johnson’s writings had, in philology, the effect which Newton’s discoveries had in mathematics”<br />

(Webster).<br />

“It is the fate of those that toil at the lower employments of life, to be rather driven by the fear of evil, than<br />

attracted by the prospect of good; to be ... punished for neglect, where success would have been without<br />

applause, and diligence without reward. Among these unhappy mortals is the writer of dictionaries ... Every<br />

other author may aspire to praise; the lexicographer can only hope to escape reproach” (Johnson, preface to<br />

the present work).


Samuel Johnson’s monumental work, which drew on all the best ideas and aspects of earlier dictionaries,<br />

was published on April 15, 1755 in an edition of 2000 copies. The price was a high one £4 10s, or £3 10s to<br />

the trade. The group of publishers whose names appear in the imprint were joint proprietors, having paid<br />

Johnson £1575 in installments for copy which took him eight years to complete, although in the final months<br />

publication was held back for the granting of his Oxford M.A. (Feb. 20, 1755). Some of Johnson’s advance was<br />

used to rent the well-known house in 17 Gough Square, where the garret became his “dictionary work-shop.”<br />

He called on the assistance of six amanuenses, five of whom, Boswell proudly records, were Scotsmen, and<br />

who were almost derelict when he hired them. “With no real library at hand, Johnson wrote the definitions<br />

of over 40,000 words...illustrating the senses in which these words could be used by including about 114,000<br />

quotations drawn from English writing in every field of learning during the two centuries from the middle<br />

of the Elizabethan period down to his own time” (W. Jackson Bate, Samuel Johnson (New York, 1977), p.247.<br />

“It is the dictionary itself which justifies Noah Webster’s statement that Johnson’s writings had, in philology,<br />

the effect which Newton’s discoveries had in mathematics. Johnson introduced into English lexicography<br />

principles which had already been accepted in Europe but were quite novel in mid-eighteenth-century<br />

England. He codified the spelling of English words; he gave full and lucid definitions of their meanings<br />

(often entertainingly colored by his High Church and Tory propensities); and he adduced extensive and apt<br />

illustrations from a wide range of authoritative writers...but despite the progress made during the past two<br />

centuries in historical and comparative philology, Johnson’s book may still be consulted for instruction as<br />

well as pleasure” (PMM).<br />

The Dictionary was issued with two titlepages, identifying the volumes as “I” and “II,” and is usually divided<br />

between the letters “K” and “L,” as here. Although Fleeman estimates that “more than half ” of the 2000 copies<br />

survive, their condition is extremely variable. The great weight of the work ensured that when standing<br />

upright and even when stoutly bound, the covers were likely to detach with time. Once the covers were<br />

loose, damage to the titles and the other outer leaves was almost inevitable.<br />

Courtney & Smith p. 54; Chapman & Hazen p. 137; Fleeman Bibliography I, p.410; Grolier English 50; cf. H. Hitchings Defining<br />

the World (ref.); PMM 201; Rothschild 1237; Slade & Kolb Johnson’s Dictionary pp.105-113; cf. William B. Todd ‘Variants in<br />

Johnson’s Dictionary, 1755’, pp.212-3 in The Book Collector vol.14, number 2, summer 1965.<br />

(#26355)<br />

$ 25,000


37<br />

KALM, Peter (1717-1779).<br />

Travels into North America; containing Its Natural History, and A circumstantial Account of its<br />

Plantations and Agriculture in general, with the Civil, Ecclesiastical, and Commercial State of the<br />

Country, The Manners of the Inhabitants, and several curious and Important Remarks on various<br />

Subjects.<br />

Warrington: Printed by William Eyres, 1770 [vol 1]; London: Printed for the Editor, and sold by T.<br />

Lowndes, 1771 [vols 2-3]. 3 volumes, 8vo (8 x 4 3/4 inches). Engraved folding map, 6 engraved plates.<br />

List of Subscribers in vol. 2. (Folding map linen-backed at an early date). Contemporary smooth tan<br />

calf, rebacked to style, spines with raised bands in six compartments, red morocco lettering piece in<br />

the second.<br />

First edition in English, first issue with the Warrington imprint, of “one of the most important and reliable<br />

eighteenth-century accounts of American natural history, social organization and political situation” (Streeter).<br />

Between 1748 and 1749, Peter Kalm, a noted Swedish naturalist and student of Linnaeus, traveled throughout<br />

the northeast of America, specifically in Pennsylvania, Delaware, New Jersey, New York, and Canada,<br />

surveying the countryside, and recording notes on the inhabitants, the fauna, and the flora of the region.<br />

Among his companions on a notable trip into the back country of New York was noted American naturalist<br />

John Bartram. Returning to his native Stockholm, Kalm there published the first edition of his observations<br />

between 1753 and 1761. This first edition in English, translated by John Reinhold Forster, followed.<br />

Kalm’s important contributions to the study of American botany make this a fundamental work of early<br />

American natural history. Besides the works importance on the natural history of the region, Kalm provides<br />

a reliable contemporary account of the Philadelphia area and the Swedish settlements. “Most trustworthy<br />

description of Swedish settlements in 18th century Delaware, New Jersey and Pennsylvania” (Howes).<br />

The first edition, with the Warrington imprint in volume one, is considerably more scarce than later editions<br />

in English.<br />

Howes K5; Sabin 36989; Streeter Sale 823; TPL 214; Taxonomic Literature 3493; The Plant Hunters, pp.277-79; Lande 482<br />

(#26593)<br />

$ 6,500


38<br />

KRASHENINNIKOV, Stepan Petrovich (1711-1755) - James GRIEVE, translator (d. 1773).<br />

The History of Kamtschatka, and the Kurilski Islands, with the countries adjacent; illustrated with maps<br />

and cuts. Published at Petersbourg in the Russian language, by order of Her Imperial Majesty, and<br />

translated into English by James Grieve, M.D.<br />

Glocester [sic]: Printed by R. Raikes for T. Jefferys, 1764. 4to (10 1/8 x 7 3/4 inches). 7 engraved maps<br />

and plates (four folding). Errata leaf in the rear. Period calf, covers with a gilt fillet border, expertly<br />

rebacked to style, spine in six compartments with raised bands, original red morocco lettering piece<br />

in the second compartment, the others with a repeat decoration in gilt, original marbled endpapers.<br />

First English edition of a noted work on Kamchatka and one of the earliest accounts of Alaska and the Aleutian<br />

Islands, by a member of Bering’s second expedition.<br />

“The Russian Krasheninnikov started out across Siberia with Gerhard Friedrich Mueller and Johann Georg<br />

Gmelin, and then made his own way to Kamchatka. When Georg Wilhelm Steller arrived in Kamchatka<br />

to supervise his work, Krasheninnikov left in order to avoid becoming Steller’s assistant, and returned to<br />

St. Petersburg. Krasheninnikov nonetheless was able to make use of Steller’s notes in the preparation of his<br />

own narrative, and the inclusion of Steller’s observations on America, made during his travels with Bering’s<br />

second voyage, are an important part of this work, and constitute one of the earliest accounts of Alaska<br />

and the Aleutian Islands. Steller’s account was not published until 1793. This work details the customs,<br />

morals, and religion of the Kamchatka peninsula, and discusses the power exercised by the magicians. Also<br />

described are the differences between the dialects of the Kamchatkans and those of the Korsairs and of the<br />

Kurile islanders. This is the first scientific account of those regions” (Hill).<br />

Steller’s own account of the voyage with Bering was not published until 1793. The second part of<br />

Krasheninnikov’s narrative is devoted to the botanical and natural history aspects of the region, including<br />

many valuable observations, comprising what is generally considered to be the pioneering natural history


work concerning Alaska and Kamchatka. The attractive plates are some of the earliest depictions of the<br />

natives and their habitat. Lada-Mocarski states that the first edition “is a very rare book and difficult to<br />

secure.”<br />

First published in Russian in 1755, the present first English edition was translated by James Grieve, at the<br />

time of the original publication serving as the personal physician to the Empress of Russia. The present<br />

scarce English edition was the first to be published outside Russia and would be followed by French and<br />

German translations.<br />

“Contains one of the earliest descriptions of Russian America and the Kurile Islands” (Howes).<br />

Sabin 38301; Hill 948; Howes K265; cf. Lada-Mocarski 12; Howgego K37.<br />

(#24677)<br />

$ 5,750


39<br />

LAMBERT, Aylmer Bourke (1761-1842).<br />

A Description of the Genus Pinus, with directions relative to the cultivation, and remarks on the uses of<br />

the several species: also descriptions of many other new species of the family Coniferae. Plates.<br />

London: James Bohn, 1842. Folio (21 1/2 x 14 5/8 inches). 93 hand-coloured engraved plates<br />

(including 7 plates of views of trees in landscapes, 86 plates of botanical details,) after Ferdinand<br />

Bauer, J. Sowerby, J.T. Hart and others, engraved by Warner, Mackenzie, J. Sowerby, E.S. Weddell,<br />

Quiroz and others. Expertly bound to style in half purple morocco over original purple cloth covered<br />

boards, flat spine in six compartments, lettered in the second and third, the others with a repeat<br />

overall decoration in gilt.<br />

A fine copy of Lambert’s masterpiece: the ultimate edition, including spectacular plates after Ferdinand Bauer.


Only a few copies of this edition, published by James Bohn, appear to have been printed and no other copies<br />

are listed as having sold at auction in the past twenty-five years. It was the first edition to gather all the plates<br />

into a single large-format volume (with a separate octavo text volume not present here) thus eliminating any<br />

possibility of problems with the text offsetting onto the image area.<br />

The majority of the plates are after Ferdinand Bauer, who with his brother Franz “may well claim to be the<br />

greatest of all botanical draughtsmen. Their skill in execution of detail is miraculous, yet they never lost sight<br />

of the wood for the trees; everything is understood, balanced, controlled ... The splendid illustrations to [the<br />

present work] ... deeply impressed Goethe ... The botanical draughtsman was no longer the mere recorder<br />

of floral beauty; he now had the more difficult task of serving both Art and Science” (Great Flower Books,<br />

p.37).<br />

The earliest edition of this work, with the fewest number of plates, was published in two volumes between<br />

1803 and 1824. It then appeared in various formats with varying numbers of plates until the Bohn issue of<br />

1842. According to Henrey the largest number of plates found is 103 in a 3-volume folio edition published by<br />

George White between 1837 and 1842 (although Nissen gives a plate total of 117 for the same edition). The<br />

present example has one more plate than the Lindley Library copy described by Henrey.<br />

Lambert’s work is of primary importance as a record of the genus Pinus, and is often cited in subsequent<br />

works. However as Renkema and Ardagh point out, the somewhat haphazard way in which the work<br />

was published means that these citations are often contradictory and to gain a full understanding of the<br />

information given by Lambert it is essential to have access to not just one but all of the main editions,<br />

culminating with the present work.<br />

Great Flower Books (1990) p.111; Henrey III, 925; cf. H.W. Renkema & J. Ardagh ‘Aylmer Bourke Lambert and his “Description<br />

of the genus Pinus”’ in Journal Linnean Society London, Botany (1930) vol.48, pp.439-466; cf. Stafleu & Cowan TL2 4146.<br />

(#26254)<br />

$ 58,500


40<br />

LE BRUYN, Cornelius (1652-1727/28) [or Le Brun].<br />

A Voyage to the Levant: or, travels in the principal parts of Asia Minor, the<br />

islands of Scio, Rhodes, Cyprus, &c. with an account of the most considerable<br />

cities of Egypt, Syria and the Holy Land ... Done into English, by W.J.<br />

London: printed for Jacob Tonson and Thomas Bennet, 1702. Folio (13<br />

3/16 x 8 1/2 inches). Engraved emblematic frontispiece, portrait of the<br />

author, 1 folding map, 96 plates (25 double-page, 17 folding), numerous<br />

illustrations. (Minor dampstaining extending from the top gutter margin,<br />

minor toning to plates). Expertly bound to style in contemporary calf,<br />

covers with a gilt ruled border, spine with raised bands in six compartments,<br />

morocco lettering piece in the second compartment, the others with a<br />

repeat overall decoration in gilt, marbled endpapers.<br />

First edition in English of this important illustrated account of travels in Turkey,<br />

the Holy Land and Egypt.<br />

In his first expedition of 1674, Dutch traveller Cornelius Le Bruyn remained<br />

in the Levant for seven years, travelling principally in Asia Minor, Syria, the<br />

Holy Land and Egypt. On his return, he published his Voyages au Levant in Dutch in 1698, in French in 1700<br />

and in English (as here) in 1702.<br />

The text is made up of a mixture first-hand observations and information drawn from other sources, but<br />

the impressive images are all by the talented Le Bruyn: “The principal aim M. Bruyn had in publishing this<br />

work, was to give the world exact designs or draughts of the cities, places and edifices, which he met with on<br />

his travels; and herein he is very accurate, having drawn all his prospects upon the very place where he was”<br />

(Preface). The magnificent plates are among the best representations of the area from the late 17th century<br />

and include large-scale views of Smyrna, Alexandria, Rhodes, Bethlehem, Constantinople, Aleppo, Palmyra,<br />

and elsewhere. Le Bruyn’s depictions of Jerusalem and the pyramids of Egypt are particularly notable, being<br />

among the earliest images of these celebrated locations to be widely disseminated.<br />

The success of the published account of this expedition engendered a second expedition by Le Bruyn across<br />

Russia and Persia and to India and Java between 1701 and 1707.<br />

Atabey 160; Lipperheide 546; Howgego B177<br />

(#21108)<br />

$ 12,000


41<br />

LE BRUYN, Cornelius (1652-1727/28) [or Le Brun].<br />

Voyages ... par la Moscovie, en Perse, et aux Indes Orientales.<br />

Amsterdam: Chez les Freres Wetstein, 1718. 2 volumes, small folio (13 x 8 inches). Half-title in<br />

volume II, titles printed in red and black. Vol 1: engraved portrait of the author by G. Valck after<br />

G. Kneller, engraved allegorical frontispiece by B. Picart, dedication with engraved headpiece, 3<br />

engraved double-page maps, 111 engraved plates (numbered 1-110, plus 1 unnumbered) on 52 sheets<br />

(29 double-page, 7 folding), 24 engraved illustrations within the text (illustration on p. 164 pasted on<br />

slip as issued). Vol 2: 162 engraved plates (numbered 111-262, plus 10 unnumbered) on 56 sheets<br />

(33 double-page, 9 folding), 20 engraved illustrations within the text. (A few plates shaved at margin,<br />

some plates bound out of order). 18th-century calf, nicely rebacked retaining the original lettering<br />

pieces, spines in seven compartments with raised bands, lettering pieces in the second and third<br />

compartments, the others with a repeat decoration in gilt. Provenance: Thomas Lennard Barrett,<br />

Lord Dacre of the South, of Belhus, Essex (1717-1787, armorial bookplate).<br />

First edition in French of Le Bruyn’s important illustrated account of his voyage to Russia, Persia, India and<br />

Java.<br />

In his first expedition of 1674, Dutch traveller and painter Cornelius Le Bruyn remained in the Levant for<br />

seven years, travelling principally in Asia Minor, Syria, the Holy Land and Egypt. On his return, he published<br />

his Voyages au Levant, and encouraged by its success, undertook a second, more far-reaching expedition.<br />

“In 1701, Le Bruyn started on the second of his journeys taking a ship to the country of the Samoyeds ... and


then proceeding to Moscow. Travelling by way of Asia Minor, he arrived in Persia where he remained for<br />

the years 1704-05. Leaving Persia he proceeded [by ship] to India [stopping at Cochin], Ceylon and the East<br />

Indies [i.e. Batavia]. He returned by much the same route, residing in Persia between 1706 and 1707 and<br />

describing the ruins of Persepolis and Pasargades” (Howgego).<br />

The numerous finely engraved illustrations include large folding panoramas of Moscow and Isfahan, views<br />

of Astrakhan, and the antiquities at Persepolis and many of the forts encountered on his journey, as well as<br />

portraits of native peoples, and depictions of the flora, fish, birds, animals etc. Of particular note are Le<br />

Bruyn’s description and images of the Samoyeds and their country, among the earliest for the region. Le<br />

Bruyn also gives an account of an encounter with William Dampier in Batavia, and describes the route taken<br />

by Everard Ysbrants Ides, the Danish Russian ambassador to China.<br />

Brunet III:911 (calls for 262 plates based on the numbering of the plate list which does not include the unnumbered plates);<br />

Chadenat II, 5085; Chahine 2078; Cohen-de Ricci 610; Lipperheide Kaa 6 (calls for 128 plates and 45 engraved illustrations);<br />

Howgego B177.<br />

(#25534)<br />

$ 15,000


42<br />

[LE HAY] - Charles de FERRIOL (1652-1722).<br />

Recueil de cent estampes représentant differentes nations du Levant. [With, part two:] Explication<br />

des cent estampes qui représentent les costumes des differentes nations du Levant. Avec de nouvelles<br />

estampes de ceremonies turques qui ont aussi leurs explications.<br />

Paris: Le Hay and Duchange, 1714; Jacques Collombat, 1715. Folio (19 3/4 x 13 inches). Engraved<br />

title, 102 engraved plates (comprising 100 numbered plates and 2 unnumbered, 3 double-page), one<br />

leaf of engraved music. Contemporary red morocco, covers ruled in gilt, spine in eight compartments<br />

with raised bands, black morocco lettering piece in the second compartment, the others with an<br />

overall repeat decoration in gilt, marbled endpapers (expert restoration to the joints). Provenance:<br />

Jacob Bouverie, 1st Viscount Folkestone (armorial bookplate on verso of the title).<br />

A lovely copy of Le Hay and Ferriol’s famous work depicting the costume of the Levant: this copy bound in 18th<br />

century red morocco.


The plates are based on paintings in the collection of the Marquis de Ferriol. In 1707, Ferriol commissioned<br />

Jean Baptiste van Mour to paint one hundred pictures of different officials and races in their costumes:<br />

the chief eunuch; a Turkish man cutting himself to show his love for his mistress; a Jewish woman taking<br />

goods to Turkish harems; a Greek bride; a Turkish women at leisure; Albanians, Bulgarians, Greeks, Persians<br />

and Arabs. When the paintings were complete, Ferriol helped le Hay to publish the present engravings of<br />

the pictures. Le Hay’s work was an instant success and the plates quickly became the principal source of<br />

turqueries for artists and publishers throughout Europe. In recognition of van Mour’s talents, he was granted<br />

the unique post of `Peintre ordinaire du Roi en Levant’ in 1725.<br />

Atabey 429; Blackmer 591; Colas 1819-20; Brunet III, 947-8; Cohen-de Ricci 392l; Lipperheide 413, 414<br />

(#15885)<br />

$ 35,000


43<br />

LUYNES, Honoré T. P. Joseph d’Albert; Duc de (1802-1867) - Charles NÈGRE (1820-1880, photographer).<br />

Voyage d’Exploration a la Mer Morte a Petra et sur la River Gauche du Jourdain.<br />

Paris: Arthus Bertrand, imprimerie de E. Martinet, [1868-74]. Atlas only, large 4to (14 1/4 x 10 3/4<br />

inches). Half-title. 2 folding coloured maps, engraved plate of the expedition’s vessel, 64 photogravure<br />

plates by Charles Nègre after Louis Vignes (illustrating the Luynes expedition and numbered 1-64,<br />

1 double-page); 4 maps or plans (one double-page), 14 tinted lithographed plates by Ciceri after<br />

photographs by Vignes and Sauvaire (illustrating the Mauss expedition, with the maps numbered<br />

1-18); 14 plates from the text volumes (8 lithographed plates of shells, 2 engraved plates of elevations,<br />

4 chromolithographed geological maps). Expertly bound to style in half dark purple morocco over<br />

period purple cloth covered boards.


An incunable of photomechanically-illustrated books and among the earliest published photographs of Jordan<br />

and the Dead Sea basin.<br />

The Duc de Luynes inherited enormous wealth and spent his life on scientific, archeological and artistic<br />

pursuits. Among those was this 1864 private expedition to the Dead Sea basin and interior of Jordan<br />

to examine the region’s ancient ruins and perform geological and scientific observations. Luynes was<br />

accompanied on the expedition by Lieutenant Louis Vignes, who served as the expedition’s photographer, as<br />

well as noted geologist Louis Lartet. Arriving to the region in the early spring of 1864, the party travelled by<br />

way of Galilee and Samaria to Jerusalem, from whence they embarked on a month-long boat excursion on the<br />

Dead Sea, before ascending the right bank, travelling toward Lake Tiberias, before returning to Jerusalem via<br />

the Ammon and Moab mountains. From Jerusalem, the party returned back to the Dead Sea, turning south<br />

as far as Akabah and returning northward via Petra. In a second expedition, commanded by Vignes between<br />

September and October of that year, the party travelled from Tripoli, across the Golan to the sources of the<br />

Jordan River, travelling as far inland as Palmyra, before returning by way of Hamah to the coast.<br />

Nearly a decade prior to this expedition, in 1856, Luynes had sponsored a contest with the Societe Française<br />

de Photographie to discover the best and most practical system of photomechanically reproducing<br />

photographs. This seminal event is credited with launching the development of the photobook. Among<br />

the participants in the contest was Charles Nègre. Although Nègre did not win the 7000 franc prize, Luynes<br />

selected him in 1865 to reproduce Vignes’s photographs in this official account of the expedition, paying him<br />

23,250 francs for the commission.<br />

Albumen prints made from the original negatives show the original photographs by Vignes, taken no doubt<br />

in harsh conditions, were over-exposed. “It is remarkable how Nègre was able to open up the shadows and<br />

fill them with light, detail and space [not evident in the original negatives]. But undoubtedly the main reason<br />

the Duke chose Nègre to perform this task lay in the quality of the prints Nègre was capable of producing ...<br />

for he had achieved a control over his process which resulted in prints of rich tones, fine detail, transparency<br />

and effect” (Borcoman).<br />

Luynes died before the work would be published, leaving the task to his son and Le Comte de Vogëé. The<br />

volumes of text (not present here) were published over several years, the first volume containing Luyne’s<br />

account, the second volume comprised of Vignes’s memoir (coupled with an account of a separate expedition<br />

by Mauss to Karak also sponsored by Luynes), with the final volume of geological observations not appearing<br />

until 1874. While the archaeological and scientific observations within the text were groundbreaking at the<br />

time, the work is today best appreciated for its stunning atlas of photogravure plates.<br />

“To the small but vitally important field of nineteenth-century photomechanical process, Nègre brought<br />

not only technical expertise but also the eye of a master photographer. The book ... remains one of the finest<br />

photomechanically printed books of the era” (Parr and Badger).<br />

Rohricht 2824; Truthful Lens 109; Parr & Badger I:p.33; James Borcoman, Charles Nègre 1820-1880 (Ottawa: National Gallery<br />

of Canada, 1976) pp. 45-46; Foster et al., Imagining Paradise, p.105; Jamme, Art of French Calotype, p. 222.<br />

(#26937)<br />

$ 22,500


44<br />

LYCETT, Joseph (1774-1827).<br />

Views in Australia or New South Wales, & Van Diemen’s Land delineated.<br />

London: J. Souter, 1824 [-1825] [text watermarked 1830]. Oblong folio (10 x 14 inches). Handcolored<br />

lithographic title, 2 engraved maps, one folding, 48 hand-coloured aquatints by Lycett after<br />

his original drawings. Dedication to Earl Bathurst, advertisement leaf, introductory account and<br />

descriptive text for each view. (One folding map partially trimmed to image upper left, the other with<br />

neatly repaired edges, occasional minor spots or browning not affecting images, a few neatly repaired<br />

marginal tears). 20th century black morocco, spine with raised bands in five compartments, lettered<br />

in gilt. Provenance: Quentin Keynes (sale, Christie’s, 7-8 April 2004, lot 140).<br />

The finest colour plate book on Australia and Tasmania.<br />

Lycett, a professional painter of portraits and miniatures, was transported to New South Wales in 1814 for<br />

forgery, working as artist to Major General Macquarie, Governor of the colony. Impressed with Lycett’s<br />

talents, Macquarie sent three of his drawings to Earl Bathurst, Secretary for the colonies (and the dedicatee<br />

of this work). Granted a pardon through Bathurst’s influence in 1819, Lycett travelled extensively in New<br />

South Wales and Van Diemen’s Land, continuing in his role of unofficial government artist. In 1821 he<br />

returned to England. Following the success of his two lithographic panoramas of Sydney and Hobart, his<br />

Views in Australia were published by Souter in 13 monthly parts between July 1824 and June 1825. Strong<br />

demand for the first part enabled aquatints to be substituted for the lithographic plates originally proposed.


After completion of the parts issue, the work was published in book form over the next several years without<br />

change to the imprint date. Copies vary in terms of the number of aquatints versus lithographs; the present<br />

copy in the most desirable form comprised entirely of the superior aquatints.<br />

Not only does the work provide an historical snapshot of New South Wales and Tasmania in the early decades<br />

of settlement, but it is especially important for its depiction of colonial architecture, showing the colony’s<br />

most important houses and lesser known structures. Wantrup calls Lycett “the outstanding artist of his<br />

period in Australia ... his Views in Australia is a landmark in the development of the Australian illustrated<br />

book.”<br />

Abbey Travel 570; Tooley 310; Ferguson 974; Wantrup 218b<br />

(#26973)<br />

$ 45,000


45<br />

[MARRA, John].<br />

Journal of the Resolution’s Voyage, in 1772, 1773, 1774, and 1775. On Discovery to the southern<br />

hemisphere, by which the non existence of an undiscovered continent ... is demonstratively proved.<br />

Also a journal of the Adventure’s voyage, in the years 1772, 1773, and 1774. With an account of the<br />

separation of the two ships.<br />

London: 1775. Octavo (8 1/4 x 4 7/8 inches). 1 folding engraved map, 5 engraved plates, extraillustrated<br />

with 1 folding engraved map “Part of the Tropical Discoveries of the Resolution Sloop<br />

Captain J. Cook in 1774”. Contemporary calf, spine gilt in compartments with raised bands, morocco<br />

lettering-piece.<br />

“The first printed account of man’s entry into the region south of the Antarctic circle” (Spence) and the earliest<br />

published complete account of Cook’s second voyage, issued at least eighteen months prior to the official version.<br />

“A rare work ... contain[ing] details of many events not recorded in the official account, and a preface recording<br />

the causes which led Banks and his staff to withdraw from the expedition at the last moment. Accordingly it is<br />

a vital second voyage item...” (Davidson).<br />

The second voyage included the first crossing of the Antarctic circle, making Marra’s narrative the earliest<br />

firsthand account of the Antarctic, and the engraved plates are the first depictions of that region. Due to the<br />

strict regulations against private publications, the work was published anonymously, but the identity of the<br />

author did not remain a mystery for long. “Correspondence between Cook and the Admiralty shows that<br />

the author was John Marra, one of the gunners’ mates in the Resolution. He was an Irishman whom Cook<br />

had picked up at Batavia during the first voyage. He made an abortive attempt to desert at Tahiti on 14 May<br />

1774, an escapade of which Cook took so lenient a view that he says - ‘I know not if he might have obtained<br />

my consent, if he had applied for it in proper time.’ This did not, however, as Marra states at p. 241, prevent<br />

his being put in irons...” (Holmes).


This copy contains the extremely rare extra folded map, “Part of the Tropical Discoveries of the Resolution<br />

Sloop Captain J. Cook in 1774,” which is noted by Beddie and Rosove, but which is not called for in most<br />

of the references. This map has been present in only three of the twenty-five copies of the first edition<br />

sold at auction in the last thirty or so years. The chart appears opposite the first page of text and shows<br />

New Caledonia and the Great Cyclades islands to the north and Norfolk island to the south. It is a most<br />

interesting production, and is to be found in two states: first, as here with the engraver’s name and with the<br />

position of Norfolk Island incorrectly placed 4° too far south; and second, with the engraver’s name erased<br />

(but just visible), with Norfolk Island’s latitude corrected. The chart follows two of the Gilbert manuscript<br />

charts (see David 2.225/6/) in spelling Ballabeah Isle with a final “h,” unlike all the other manuscript charts.<br />

We have a definite date for the corrected issue of this chart, as it accompanied the article, “Late Voyages of<br />

the Resolution and Adventure,” published in the Gentleman’s Magazine, Vol. XLVI, 1776 (edited by David<br />

Henry), opposite page 120 in the March issue. Therefore, it seems probable that the uncorrected chart found<br />

its way into copies of Marra issued during the last two or three months of 1775.<br />

Bagnall 630; Beaglehole II, pp.cliii-clv; Beddie 1270; Conrad p.13; Davidson p.60; Hill (2004) 1087; Hocken, p.14; Holmes 16;<br />

Kroepelien 809; O’Reilly-Reitman 379; Rosove 214.A1b; Sabin 16247; Spence 758; Streeter Sale 2408.<br />

(#19445)<br />

$ 18,500


46<br />

MARSDEN, William (1754-1836).<br />

Numismata Orientalia Illustrata. The Oriental<br />

Coins, Ancient and Modern, of his Collection,<br />

Described and Historically Illustrated.<br />

London: Printed for the Author by Cox and<br />

Baylis, 1823-25. Two parts in one. 4to (11 1/8 x 8<br />

3/4 inches). Half-titles to each part. 57 engraved<br />

plates, drawn and engraved by J. Swaine. Uncut.<br />

Contemporary green cloth, rebacked at a later<br />

date, red morocco lettering piece. Later slipcase.<br />

Provenance: Mountstuart Elphinstone (1779-<br />

1859, presentation inscription from The Author<br />

on the front pastedown).<br />

Presentation copy of the first edition of the catalogue<br />

of Marsden’s collection of the ancient coins of the<br />

Middle East and Asia: a watershed in the history of<br />

numismatics.<br />

In 1771, Marsden entered the service of the East<br />

India Company in Sumatra, spending eight years<br />

in the region devoting himself to its language and<br />

history. Upon his return to London, he published<br />

a noted history of Sumatra, which earned him<br />

election as a Fellow of the Royal Society and encouraged his further study of the languages and history of<br />

the Islamic world. Marsden’s association with Sir Joseph Banks, Nevil Maskelyne, Alexander Dalrymple,<br />

James Rennell, Charles Blagden, William Herschel and others led to an appointment as a secretary in the<br />

Admiralty. It was at this time that his interest in the Orient led to his forming an important library and<br />

numismatic collection.<br />

In 1805, Marsden acquired the Cufic coin collection of Sir Robert Ainslie (1730-1812), the British<br />

Ambassador to the Ottoman Empire. Ainslie had spent sixteen years in Constantinople and during his<br />

time there purchased the collection of L’Abbe Beauchamp, the French consul-general at Baghdad and then<br />

augmented it with further examples. The strength of the Ainslie collection was in early Arabian numismatics.<br />

Marsden, in turn, added considerably to the cabinet by procuring examples of ancient coins from the Indian<br />

sub-continent, as well as Nepal, Asam, Bengal, China, Sumatra and other regions. Marsden’s collection of<br />

3,400 coins were presented to the British Museum in 1834.<br />

The collection was the first significant “Oriental” collection formed in Great Britain. Marsden’s privatelyprinted<br />

catalogue, which included ancient examples from Turkey, Egypt, Syria, Persia, Morocco, India, Siam,<br />

Sumatra, Java, Japan, China and elsewhere, is considered a watershed in the history of numismatics. The<br />

plates for the engravings of the coins survived and was re-issued, without text, in the second half of the 19th<br />

century, attesting to the importance of the collection. The first edition of Marsden’s catalogue, however,<br />

is very rare. This a presentation copy inscribed by the author to Mountstuart Elphinstone (1779-1859),<br />

Scottish statesman and diplomat, envoy to the court of Kabul, Lieutenant Governor of Bombay and author<br />

of a noted early English history of India.<br />

Lowndes 1217; Howgego M55. Not in Atabey, Blackmer or Cordier.<br />

(#26919)<br />

$ 5,250


47<br />

MAYER, Luigi (1755-1803).<br />

Views in Egypt, Palestine and other parts of the Ottoman Empire [general title].<br />

London: printed by T. Bensley for R. Bowyer, 1804 [text and plates watermarked 1801]. 3 parts in 1,<br />

folio (18 1/4 x 12 1/2 inches). General title, 4 section titles (one part with 2 section titles in English<br />

and French, respectively). 96 hand-coloured aquatint plates. Expertly bound to style in dark green<br />

morocco over contemporary marbled paper covered boards, flat spine in six compartments, lettered<br />

in the second compartment, the others with a repeat decoration in gilt.<br />

[Comprised of:] Views in Egypt from the Original Drawings in the Possession of Sir Robert Ainslie, taken<br />

during his Embassy to Constantinople. London, 1801. Text in English. 48 hand-coloured aquatint plates after<br />

Mayer, all captioned in English. [With:] Views in Palestine, from the Original Drawings of Luigi Mayer, with<br />

an Historical and Descriptive Account of the Country and its Remarkable Places ... Vues en Palestine ... London,<br />

1804. Title and text in English and French. 24 hand-coloured aquatint plates after Mayer, all captioned in<br />

English and French. [With:] Views in the Ottoman Empire, chiefly in Caramania, a part of Asia Minor hitherto<br />

unexplored; with some curious selections from the Islands of Rhodes and Cyprus, and the celebrated cities of<br />

Corinth, Carthage and Tripoli: from the original drawings in the possession of Sir R. Ainslie, taken during his<br />

embassy to Constantinople by ... Mayer: with historical observations and incidental illustrations of the manners<br />

and customs of the natives of the country ... Vues dans l’empire Ottoman. London: 1803. 2 letterpress titles:<br />

one in English, one in French, text in English and French. 24 hand-coloured aquatint plates after Mayer, all<br />

captioned in English and French.<br />

Rare combined issue of Mayer’s spectacular works with remarkable colour plates.


Each work was published under the auspices of Sir Robert Ainslie (1730-1812), antiquary, numismatist,<br />

and ambassador to Constantinople from 1776 to 1792. The plates include many remarkable images. The<br />

first work includes breathtaking views from the top of the Great Pyramid at Gizeh, the second and third<br />

pyramids at Gizeh, and a very detailed illustration of the Nilometer, an ancient device which measured the<br />

height of the Nile. (Egypt’s agricultural economy depended almost entirely on the annual flooding of the land<br />

by the Nile and the Turkish rulers of Egypt used the Nilometer to judge how good a season their subjects<br />

were going to have and thus how much, if any, taxes could be levied). The second work contains a series of<br />

10 views taken in and around Jerusalem, as well as a number of other locations known from passages in the<br />

Bible. The third work concentrates on Caramania in Asiatic Turkey, including views of the ancient sites as<br />

well as ethnographical portraits of the inhabitants. It also includes images of Rhodes, Corinth, Carthage and<br />

Tripoli. As the titles make clear, the plates are based upon the designs of Luigi Mayer, an Italian-born artist<br />

of German parentage.<br />

Abbey Travel 369; Atabey 787 & 788; Blackmer 1098 & 1099; Gay 2145; Rohricht p. 339; Colas I, 2018; Hardie p.141; Hiler p.577<br />

(#26088)<br />

$ 12,000


48<br />

MORRIS, Richard.<br />

Essays on Landscape Gardening, and on uniting picturesque effect with rural scenery: containing<br />

directions for laying out and improving the grounds connected with a country residence.<br />

London: Printed by S and R. Bentley for J. Taylor, 1825 [text watermarked 1824-1825, plates<br />

watermarked 1825]. Quarto (12 3/4 x 10 inches). Half-title, uncut. 6 aquatint plates (3 hand-coloured,<br />

3 printed in sepia [2 of these with overlays]). Original paper-covered boards, paper title label to<br />

backstrip, green morocco backed box, spine in six compartments with raised bands, ruled in gilt on<br />

either side of each band, lettered in the second compartment, the others with a repeat decoration in<br />

gilt.<br />

A fine, unsophisticated copy of a beautifully illustrated work on the art of landscape gardening as practiced in<br />

England at the start of the 19th century.<br />

In the preface to the present work, Morris acknowledges his inspiration to have been the works of Humphry<br />

Repton, Uvedale Price, William Gilpin and to a lesser extent William Shenstone, William Mason, Richard<br />

Payne Knight and Thomas Whately. Taking the “instructive hints” from these disparate sources, Morris here<br />

offers essays on eight aspects that need to be considered when laying out an English country garden and<br />

estate, together with six plates that further illustrate his points. As in the works of Repton, two of the plates<br />

contain overlays showing the landscape before and after Morris’s improvements.<br />

Morris, a plantsman and surveyor approaches his subject from a more detailed and practical point of view<br />

than his illustrious predecessors. For example, where Repton had suggested a hillside be moved and trees<br />

planted, Morris suggests a similar scheme but also lists the trees and shrubs which would be suitable. Given<br />

this attention to horticultural detail, it is unsurprising that Morris’s other works included Flora Conspicua; a<br />

selection of the most ornamental flowering, hardy, exotic and indigenous trees, shrubs, and herbaceous plants,<br />

for embellishing flower-gardens and pleasure-grounds (London, 1826) and The Botanist’s Manual. A catalogue<br />

of hardy, exotic, and indigenous plants, according to their respective months of flowering (London, 1824).<br />

Abbey Life 40.<br />

(#24550)<br />

$ 5,900


49<br />

NARBROUGH, Sir John (1640-1688), and others. - [Sir Tancred ROBINSON (editor)].<br />

An Account of Several Late Voyages and Discoveries: I. Sir John Narbrough’s Voyage to the South-Sea...<br />

II. Captain J. Tasman’s Discoveries on the Coast of the South Terra Incognita. III. Captain J. Wood’s<br />

Attempt to Discover a North-East Passage to China. IV. F. Marten’s Observations made in Greenland,<br />

and other Northern Countries...to which are added, a large introduction and supplement, containing<br />

short abstracts of other voyages into those parts, and brief descriptions of them.<br />

London: printed for D. Brown, J. Round, W. Innys and T. Ward, 1711. Octavo (7 1/2 x 4 1/2 inches).<br />

3 large folding engraved maps, 19 engraved plates (7 folding). (Two images with flags of ships with<br />

early hand-colouring). Contemporary calf, covers panelled in blind, rebacked with the spine in six<br />

compartments with raised bands flanked by gilt rules, black morocco lettering-piece in the second<br />

compartment. Provenance: Earl Ferrers, Robert Lord Viscount Tamworth (armorial bookplate on<br />

verso of title).<br />

An excellent copy of the second edition, which “is preferred because it has the chart of the western and southern<br />

oceans, which was not included in the first edition, and additional text relating to Greenland and to whales and<br />

whaling” (Hill).<br />

This work was originally published in 1694, and was probably edited by Sir Tancred Robinson. Hill describes<br />

this work as of particular importance for its account of the Straits of Magellan, much relied upon by the<br />

next generation of navigators, and says further: “The book is of the greatest importance to an Australian<br />

collection, as it contains one of the earliest English accounts of Abel Janszoon Tasman’s famous voyage of<br />

1642 from Batavia.” Also contained herein are two important northern voyages, including Marten’s account<br />

of whaling in the Greenland waters. Three of the folding plates depict whales and whaling, while the other<br />

plates depict indigenous birds, animals, and plants.<br />

Cox I, pp.8-9; Hill (2004) 1476; European Americana 711/183; Sabin 72186.<br />

(#26753)<br />

$ 9,000


50<br />

NASH, John (1752-1835) & Edward Wedlake BRAYLEY (1773-1854).<br />

Illustrations of Her Majesty’s Palace at Brighton; formerly the Pavilion: executed by the command of<br />

King George the fourth, under the superintendence of John Nash ... To which is prefixed a history of the<br />

palace, by ... Brayley.<br />

London: J.B. Nichols & Son, also sold by R. Loder and James Taylor of Brighton, 1838. Folio (21<br />

1/2 x 14 1/2 inches). Wood-engraved title vignette. 31 plates and plans after A. Pugin and others<br />

(20 present in two states, giving a plate total of 51): some aquatint, some hand-coloured, some<br />

line etchings, some on india paper mounted, some mounted. Expertly bound to style in half black<br />

straight-grained morocco over contemporary marbled paper-covered boards, spine with raised<br />

bands in 8 compartments, decoratively tooled in gilt.<br />

A unique copy of this valuable record of one of the most extraordinary architectural achievements of the early-<br />

19th century.<br />

John Nash was largely responsible for adapting Henry Holland’s Marine Pavilion at Brighton for the Prince<br />

of Wales. Nikolaus Pevsner (The Buildings of England, Harmondsworth, 1951-74) notes that Nash “kept the<br />

shape of Holland’s building entirely and only threw his fancy dress over it, and he added as outer pavilions<br />

larger rooms than any so far.” During the 1820s, acting on a further commission from his Royal client, Nash<br />

asked his pupil Augustus Pugin to produce a series of drawings and from these and other drawings a series<br />

of plates were produced. These were published in a suite containing both coloured aquatints and uncoloured<br />

line etchings under the title The Royal Pavilion at Brighton. The publication methods of this lavish production<br />

were somewhat haphazard, resulting in copies of the book not conforming with the list of plates.<br />

After Nash’s death in 1835, the London publishers J. B. Nichols and Son acquired the plates and were<br />

commissioned to print Edward Wedlake Brayley’s Careful Survey of the Palace, which they published in<br />

1836. In 1838 they combined Brayley’s text with the uncoloured outline etchings, and published Illustrations<br />

of Her Majesty’s Palace at Brighton, dedication to Queen Victoria. This second issue of the plates is arguably


a new work, in that for the first time the plates and text are combined. The work was issued complete with<br />

uncoloured outline etchings and text; however, the publishers offered separately-issued coloured aquatints,<br />

finished by hand and mounted on card, “to be bound with the Work at the option of the purchaser.” Besides<br />

including some of these extra, and desirable, coloured plates, this copy includes variants of the uncoloured<br />

plates. Abbey describes some, but the present copy is unusual in the large number of different uncoloured<br />

and colour-printed variants.<br />

Abbey Scenery 62; Tooley 338; Lowndes II, 1651; cf. Fischer, New Berlin Kat., 1977, vol. I (Baukunst England) 2344.; cf. Brunet<br />

IV, 14.<br />

(#15724)<br />

$ 17,500<br />

51<br />

NORDEN, Frederik Ludvig (1708-1742).<br />

Travels in Egypt and Nubia ... Translated from the original published by command of his Majesty the<br />

King of Denmark and enlarged with observations from ancient and modern authors, that have written<br />

on the antiquities of Egypt, by Dr. Peter Templeman.<br />

London: Lockyer Davis and Charles Reymers, 1757. 2 volumes, folio (18 x 11 inches). [12], xxxiv, 124;<br />

[4], viii, 156pp. Half-titles. Engraved initials, head- and tail-pieces. Engraved allegorical frontispiece<br />

in vol. 1, engraved portrait of the author in vol. 2, 157 engraved plates, maps and plans (numbered<br />

I-CLIX, with plates CXL/CXLI and CXLII/CXLIII on two sheets, 5 folding). Period speckled calf,<br />

covers with a gilt roll tool border, spines with raised bands in seven compartments, red and green<br />

morocco lettering pieces in the second and third, the others with repeat overall elaborate tooling in<br />

gilt. Provenance: Abraham Roumieu, architect, 1734-1780 (signature and block-printed and inkruled<br />

bookplate); Richard Hill of Thornton House, Thornton Dale, Yorkshire, England (armorial<br />

bookplate).


First edition in English of an important early illustrated account of exploration in Egypt.<br />

Norden, a Captain in the Danish Navy, made a journey in 1737-1738 through Egypt as far south as Sudan at<br />

the request of King Christian VI of Denmark. “After touring Alexandria and Cairo he proceeded up the Nile<br />

as far as Derr in Nubia, one night unknowingly passing Richard Pococke travelling in the opposite direction.<br />

Norden then retraced his steps to Alexandria and re-embarked for Europe in May 1738. During his year in<br />

Egypt, Norden produced the first coherent maps of the country ... He died in Paris in September 1742, but<br />

his friends organized his papers on Egypt and published them in two volumes in French at Copenhagen in<br />

1752-55” (Howgego). The present first English edition followed in 1757.<br />

He “was the first European to penetrate as far as Derr in Nubia and to publish descriptions of any Nubian<br />

temples. This important work was the earliest attempt at an elaborate description of Egypt, and its plates are<br />

the most significant previous to those by Denon” (Blackmer).<br />

This copy with provenance to architect Abraham Roumieu, a pupil of architect Isaac Ware.<br />

Blackmer 1211; Hilmy 2:74; Weber 2:520; Howgego N38.<br />

(#26814)<br />

$ 15,000


52<br />

OGILBY, John (1600-1676).<br />

Africa: being an accurate description of the regions of Ægypt, Barbary, Lybia, and Billedulgerid ...<br />

collected and translated from the most authentick authors, and augmented with later observations.<br />

London: Tho. Johnson for the author, 1670. Folio (15 3/4 x 10 3/8 inches). Title in red and black.<br />

Engraved frontispiece, 57 engraved maps and plates (comprised of 1 large folding general map<br />

of Africa, 56 engraved plates of views and maps [42 double page, 1 folding]), numerous in-text<br />

engravings, 9 leaves of letterpress tables. Contemporary calf, covers bordered with a gilt double fillet,<br />

neatly rebacked to style, flat spine in seven compartments, red morocco lettering piece in the second<br />

compartment. Provenance: unidentified monogram surmounted by a coronet (small leather section<br />

from the original spine, now mounted to the front endpaper); J.T. Williamson (armorial bookplate);<br />

Newbattle Abbey Library (small shelving label).<br />

A fine wide-margined copy of the most authoritative 17th-century accounts on Africa published in English.<br />

The author alludes to the genesis of this important and beautifully illustrated work in the preface, claiming<br />

to have made substantial progress in his own researches for the present work when “a Volumn [sic.] lately<br />

Publish’d ... in Low-Dutch, came to my hands, full of new discoveries ... set forth by Dr. O.[lfert] Dapper, a<br />

Discreet and Painful Author, whose large Addition, added to my own Endeavors [sic.], hath much Accelerated<br />

the Work”. In fact almost all of the plates and text can be traced back to Dapper’s Naukeurige beschrijvinge<br />

der Afrikaensche gewesten van Egypten, first published by the engraver Jacob Van Meurs in Amsterdam in


1668. It is now Dapper’s best known work. Although he was not a traveller, Olfert Dapper (1635-1690) spent<br />

three years compiling information for the book, using the most reliable published works from a number<br />

of fields (geography, economics, politics, medicine, social life and customs) as well as many unpublished<br />

travellers’ accounts. The wide range of sources he consulted allowed him to cross-check and eliminate some<br />

of the wilder tales, and to produce a narrative that was generally much more reliable than earlier accounts<br />

and which remains a key text from the era.<br />

Ogilby’s work is the most authentic and comprehensive work on Africa in English published in the seventeenth<br />

century and is of particular interest for the accounts of the natives in southern Africa. Though separately<br />

issued, the work was intended as the first volume in a planned “English Atlas” series, and is sometimes found<br />

with an additional half-title with the series title, or with the spine numbered as volume one. Besides the<br />

above explanation on the sources used, Ogilby’s preface, dated April 28, 1670, is of note as it contains the<br />

only autobiographical details on the great historian.<br />

Lowndes III, p.1719; Wing O-163; Mendelssohn (1979) 3, p.571; Tooley, Africa, p.87.<br />

(#25941)<br />

$ 14,000


53<br />

ORME, Edward (publisher). - Samuel HOWITT (1765-1822).<br />

Orme’s Collection of British Field Sports.<br />

London: Edward Orme, 1807-1808 [pre-publication watermarks:1804-1806]. 1 volume, bound<br />

from the 10 original parts, oblong folio (17 11/16 x 22 inches). Hand-coloured aquatint title by James<br />

Godby and Henri Merke after W.M. Craig, letterpress contents leaf with hand-coloured aquatint<br />

vignette by J. Swain after Howitt, 20 hand-coloured aquatint plates (titled in English and French)<br />

by Godby, Merke, Craig, Clark, Vivares after Howitt (plate 2 with letterpress overslip “RACING”<br />

pasted over caption “RACEING”; plate 9 with overslip “COURSING 1” pasted over “COURSEING<br />

1”). (Some unobtrusive expert marginal repairs). Modern dark blue straight-grained morocco gilt,<br />

spine with decorative roll-tool border, spine in six compartments with raised bands, lettered in gilt<br />

in the second compartment, the others with repeat decoration in gilt, original upper wrappers to all<br />

10 parts bound in.<br />

A fine copy of this “magnificent work, the most valuable English colour plate book on sport” (Tooley).<br />

The plates are from drawings by Samuel Howitt, “genius, artist, sportsman” who concentrated his considerable<br />

artistic talents on picturing scenes of horse-racing and hunting in all its aspects. Born in Nottinghamshire,<br />

England, Howitt was largely self-taught,”although he must have been helped by his companions George<br />

Morland, Thomas Rowlandson and John Raphael Smith. Howitt’s watercolours of hunting, shooting and<br />

racing have delightful spontaneity. An enthusiastic sportsman himself, he had sufficient family money to<br />

paint at first only for his own and his friends pleasure. However, this fortune was quickly dissipated and<br />

Howitt moved to London... [He made a living], partly by etching at which he was extremely skilled ... He


illustrated Beckford’s Thoughts on Hunting, and other books, including Orme’s Collection of British Field<br />

Sports... The light touch of his pen, the delicacy of his brushwork and his experience of field sports ensured<br />

all that he drew was animated and accurate” (Charles Lane British Racing Prints pp.132-133).<br />

Schwerdt also waxes lyrical calling this work “the finest and most important sporting book of the last two<br />

centuries.” Writing in 1928, he goes on to note that even then this work was “very rare” and records a<br />

copy with nine (of ten) original wrappers selling for £2,600 at auction in London. (To put this price into<br />

perspective, Scribner’s offered a complete set of Audubon’s Birds of America for sale for $12,000 [or about<br />

£2,400] in 1929). Although both Schwerdt and Tooley note the work to have been issued in 9 parts, Abbey<br />

calls for 10; the presence of 10 wrappers in the present example proves Abbey correct.<br />

Abbey Scenery 14; Mellon/Podeschi 86; Prideaux p.281 (“an important work”); Schwerdt II, p.53; Tooley 273<br />

(#19312)<br />

$ 60,000<br />

54<br />

PALLAS, Peter Simon (1741-1811).<br />

Travels through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794 ... Second<br />

Edition.<br />

London: printed for John Stockdale, 1812. 2 volumes, quarto (11 3/8 x 9 1/4 inches). 55 engraved<br />

or engraved and aquatint plates, plans and maps, most by or after G. Geissler (45 hand-coloured,<br />

25 folding, 4 double-page), 29 vignette illustrations (23 hand-coloured). Period diced russia, covers<br />

bordered with a gilt roll tool and double fillet, rebacked at a later date with the original black morocco<br />

lettering pieces retained, endpapers renewed.<br />

Scarce second edition in English of “an extremely charming colour plate book” (Tooley).<br />

Tooley goes on to observe that this work “deserves a place in every colour plate book collection for its<br />

numerous attractive coloured vignettes, an unusual feature.” Pallas’s odyssey was first published in German<br />

in St. Petersburg under the title St Reise durch verschiedene Provinzen des russichen Reichs (St. Petersburg,<br />

1771-76). Pallas, the newly-appointed professor of natural history at the Imperial Academy of Science in<br />

St. Petersburg, undertook an official six-year expedition from 1768 to 1774 during which he explored the<br />

most distant regions of the Russian empire. The journey (taking him first to the Caspian sea, and then across<br />

the Urals to Tobolsk, the Altai mountains, Omsk, Kolyvan, Tomsk, and Krasnojarsk, next to Irkoutsk, Lake<br />

Baikal, Oudinsk, Sélinghinsk, Kiakhta, the Amour river, and back to Krasnojarsk, thence to Tara, Jaitskoi-<br />

Gorodsk, Astrakhan, Tasaritzin and St. Petersburg) is here well described and beautifully illustrated with<br />

most of the plates and vignettes by Geissler.<br />

cf. Abbey Travel I.222; cf.Cat. Rusica P59; cf. Tooley 357.<br />

(#26730)<br />

$ 4,500


55<br />

PALMA di CESNOLA, Alexander (1840-1914).<br />

Lawrence-Cesnola Collection. Cyprus Antiquities, excavated ...1876-1879.<br />

London: W. Holmes and Son, 1881. Oblong small folio (11 x 14 1/2 inches). Letterpress title<br />

mounted on verso of the front free endpaper (as issued), 50 letterpress text leaves mounted on the<br />

verso of plates. 60 albumen photographs (1 photograph of a map, 59 photographs of objects in the<br />

collection). Contemporary red pebble grained morocco, upper cover elaborately bordered in gilt and<br />

blind and titled in gilt in the central panel, spine with raised bands in six compartments, tooled in<br />

gilt on either side of each band, metal clasp and latch, silk moire endpapers.<br />

Scarce photographically illustrated catalogue of the Cesnola Collection, the most significant collection of Cypriot<br />

antiquities ever assembled.<br />

“The story of the Cesnola Collection is almost as colorful as that of its creator, Luigi Palma di Cesnola. After<br />

a military career in both Europe and the American Civil War, Cesnola was appointed American consul<br />

in Cyprus in 1865. During the next few years, he amassed an unrivalled collection of Cypriot antiquities<br />

through extensive excavations and by purchase. The whole enterprise was funded from his own resources.<br />

At the time, a number of antiquarians from various European countries were beginning to collect Cypriot<br />

antiquities, but they were soon outmatched by Cesnola, who came to dominate the scene in Cyprus. Cesnola<br />

saw his work as rivalling that of Heinrich Schliemann at Troy and intended his discoveries on Cyprus to<br />

provide important evidence for the so-called missing link between the biblical and classical worlds.<br />

The final destination of the Cesnola Collection was for a long time uncertain. In 1870, negotiations were held<br />

first with Napoleon III of France, who wished to acquire the entire collection for the Musée du Louvre in Paris,<br />

then with Russian officials for their possible transfer to the State Hermitage Museum in Saint Petersburg. But<br />

soon afterward, Cesnola shipped the collection to London, where its exhibition aroused considerable public<br />

interest. It was at this point that the newly founded Metropolitan Museum of Art intervened and acquired<br />

the bulk of the collection for New York. The purchase was funded by public subscription with several leading<br />

business tycoons making substantial contributions.<br />

Cesnola accompanied his collection back to New<br />

York and devoted himself to supervising the work on<br />

its installation and publication. In 1877, he accepted<br />

a place on the Museum’s board of trustees and served<br />

as its first director from 1879 until his death in 1904.<br />

The Cesnola Collection remains a wonderful<br />

storehouse of ancient art and artifact, and it is by far<br />

the most important and comprehensive collection<br />

of Cypriot material in the Western Hemisphere. The<br />

objects illustrate the unique character of Cypriot art<br />

and highlight the exotic blend of Greek, Near Eastern,<br />

and Egyptian influences in Cyprus throughout<br />

antiquity” (Metropolitan Museum website).<br />

This early photographically illustrated catalogue of the collection<br />

is quite scarce, with OCLC locating but 12 copies.<br />

(#26085)<br />

$ 9,850


56<br />

PYNE, William Henry (1769-1843).<br />

The History of the Royal Residences of Windsor Castle, St. James’s Palace, Carlton House, Kensington<br />

Palace, Hampton Court, Buckingham House and Frogmore.<br />

London: printed for A. Dry, 1819 [plates watermarked 1816-1818]. 3 volumes, large quarto (13<br />

5/8 x 11 1/4 inches). Seven section titles. 100 fine hand-coloured aquatint plates by T. Sutherland,<br />

W.J. Bennett, R. Reeve, and D. Havell after J. Stephanoff, C. Wild, R. Cattermole, W. Westall and<br />

G. Samuel. Three quarters red crushed morocco over red pebbled cloth boards, bound by Morrell,<br />

spines with raised bands in 6 compartments, lettered in the second, third and fourth, the others with<br />

a repeat decoration in gilt, marbled endpapers.<br />

A very fine set, with pre-publication watermarks, of this important architectural record of the British palaces<br />

and among the best known and most wonderful English colour plate books.<br />

One of the main glories of Pyne’s work is the remarkable pictorial record it offers of the interior decorations<br />

and furnishings of Windsor Castle, showing the castle as it was before the extensive alterations carried out<br />

from 1824-1828. Also depicted in some detail are St. James’s Palace, Carlton House (with a splendid series<br />

of now-vanished interiors created for the Prince Regent by Holland with Wyatt and Nash as architects),<br />

Kensington Palace, Hampton Court, Buckingham House (including a view of the east front as it was a<br />

century before Aston Webb’s drastic remodelling carried out in 1913), and Frogmore as remodeled by Wyatt.<br />

Abbey Scenery 396/397; Martin-Hardie, pp. 91; Prideaux, p. 348; Tooley 389.<br />

(#26520)<br />

$ 9,500


57<br />

[RAILROADS].<br />

The Michigan Bridge & Construction Co. Detroit. Manufacturers<br />

of Iron, Wooden, Combination and Suspension Bridges, Trestles,<br />

Roofs, Turn-tables, Water-Stations, &c.<br />

Detroit: O. S. Gulley’s Steam Presses, 1871. Octavo (10 3/8 x 6<br />

5/8 inches). 40pp., each page with an ornamental border. 13 fullpage<br />

mounted albumen photographs. Publisher’s black morocco,<br />

covers bordered in blind, upper cover lettered in gilt. Provenance:<br />

contemporary presentation inscription on the title.<br />

Rare photographically illustrated trade catalogue for a Michigan<br />

railroad bridge builder.<br />

The images depict various examples of iron and wooden railroad<br />

bridges, as well as trestling, as well as an image of a roundhouse<br />

and types of roofs for railroad buildings. Though unattributed, the<br />

images are artfully composed and are in wonderful condition with<br />

strong tones.<br />

(#27001)<br />

$ 3,750


58<br />

REPTON, Humphry (1752-1818).<br />

Sketches and Hints on Landscape Gardening. Collected from designs and observations now in the<br />

possession of the different noblemen and gentlemen, for whose use they were originally made. The whole<br />

tending to establish fixed principles in the art of laying out ground.<br />

London: printed by W. Bulmer & Co., sold by J. & J. Boydell and G. Nicol, [1794]. Oblong folio<br />

(10 1/4 x 14 inches). 10 hand-coloured aquatints engravings (1 folding, 3 double-page), each with<br />

one or more overslips, and 6 aquatint plates printed in black with a single tint added (4 with one or<br />

more overslips), 2 wood-engraved illustrations, 1 wood-engraved tailpiece, bound without the half<br />

title. Expertly bound to style in 18th-century half russia over contemporary marbled paper-covered<br />

boards, the flat spine divided into six compartments by fillets and a Greek-key roll, red morocco<br />

lettering-piece in the second compartment, the others alternately decorated with a large centrallyplaced<br />

vase and flower spray tool, with foliate cornerpieces and a large centrally-placed goblet and<br />

birds tool with foliate cornerpieces, gilt edges. Provenance: early crowned ‘C’ monogram at foot of<br />

title.<br />

The first of Repton’s three great works on landscape gardening.<br />

Humphry Repton was the main successor to Lancelot “Capability” Brown as an improver of grounds for the<br />

English gentry in the late eighteenth and early nineteenth century. He was particularly noted for his Red<br />

Books. These were produced for each individual client and were made up from a manuscript description<br />

of his proposed improvements bound with Repton’s own watercolour drawings of the grounds, with his<br />

proposed alterations displayed on an overlay. The present work is made up to a large degree of extracts from<br />

the Red Books of 57 houses which Repton had been called upon to improve. A list of these houses, their<br />

location and their owners is given in a valuable two-page list towards the front of this volume. The work is<br />

broken down into various chapters: Concerning Buildings, Concerning Water, Concerning Approaches,<br />

etc. In each chapter Repton selects the relevant section from each Red Book that is helpful to the point he is<br />

trying to make.<br />

In addition to the specific ideas that he is trying to convey, Repton also enters the fray on behalf of “Capability”<br />

Brown. The theoreticians, Payne Knight and Uvedale Price, had both written disparagingly of Brown’s work<br />

and Repton here answers their arguments, a lengthy letter that Repton wrote to Price in July 1794 is quoted<br />

in full. The work ends with an intriguing list of sixteen “Sources of pleasure in Landscape Gardening” and<br />

William Wyndham’s letter to Repton in support of his theories: “Places are not to be laid out with a view to<br />

their appearance in a picture, but to their uses, and the enjoyment of them in real life, and their conformity


to those purposes is that which constitutes their true beauty: with this view gravel walks, and neat mown<br />

lawns ... are in perfect good taste, and infinitely more conformable to the principles which form the basis of<br />

our pleasure in these instances, than the docks and thistles, and litter and disorder, that may make a much<br />

better figure in a picture.”<br />

The plates echo the watercolours with which Repton invariably illustrated the Red Books. He makes extensive<br />

use of movable flaps or slides - generally to explain the effect he is trying to create by showing the property<br />

before his improvements (with the flap down) and after, with the flaps lifted. The quality of the aquatints<br />

is exceptional, and the folding view of the Duke of Portland’s house Welbeck Abbey in Nottinghamshire is<br />

particularly interesting as it apparently shows Repton and his assistants at work on a survey of the estate.<br />

Abbey Scenery 388; Archer 280.1; ESTC t073696; Henrey III, 1269; RIBA III, 405; Tooley 400.<br />

(#17339)<br />

$ 27,500<br />

59<br />

REPTON, Humphry (1752-1818).<br />

Designs for the Pavillon [sic.] at Brighton. Humbly inscribed to His Royal Highness the Prince of Wales.<br />

By H. Repton ... with the assistance of his sons, John Adey Repton, F.S.A. and G.S. Repton, architects.<br />

London: printed by Howlett & Brimmer for J. C. Stadler, sold by Boydell & Co., Longman, Hurst,<br />

Rees & Orme, [etc.], [1822] [text watermarked 1821-1822; plates 1822]. Folio (21 5/8 x 14 3/4<br />

inches). Emblematic frontispiece hand-coloured, 1 hand-coloured plan, 7 aquatint plates (one tinted<br />

with a sepia wash, six hand-coloured [one with an overpage, one double-page with two overslips, one<br />

folding with two overslips, one single-page with two overslips, one single-page with one overslip]),<br />

11 aquatint illustrations (seven uncoloured, one with a sepia wash, three hand-coloured [two of<br />

these with a single overslip]), all by J.C. Stadler after Repton. Uncut. Expertly bound to style in<br />

half red morocco over contemporary marbled paper covered boards, original paper letterpress label<br />

affixed to the upper cover, spine in eight compartments with semi-raised bands, bands tooled in gilt,<br />

lettered in gilt in the second compartment, the others with a repeat decoration in gilt.<br />

A fine uncut copy of Repton’s fascinating proposal for a royal palace at Brighton.<br />

Humphry Repton was the main successor to Lancelot “Capability” Brown as an improver of grounds for the<br />

English gentry in the late eighteenth and early nineteenth century. He was particularly noted for his Red<br />

Books. These were produced for each individual client and were made up from a manuscript description<br />

of his proposed improvements bound with Repton’s own watercolour drawings of the grounds, with his<br />

proposed alterations displayed on an overlay. His proposal for Brighton pavilion was no different and the<br />

present work “was based directly on the original Red Book, which was sent to the publisher and engraver,<br />

J.C. Stadler, of 15 Villiers St., Strand. The drawings, by Repton and his sons, were sumptuously reproduced<br />

in aquatint, mostly in color, complete with their overslips and slides. Stadler himself took on the financial<br />

responsibility” (Millard, British p. 245).<br />

“Repton was first summoned to Brighton by the Prince of Wales in 1797. Payments were made to him over<br />

the next five years for works in the garden of the Prince’s still modest marine villa... Then, in October 1805,<br />

Repton was requested to attend on the Prince in Brighton... The Prince and Repton met on 24 November. By<br />

12 December Repton had returned to Brighton with a sheaf of drawings showing possible improvements...<br />

The prince was intrigued and asked for a design for an entirely new house. Repton presented his scheme in<br />

February 1806 in the form of [a]... Red book, now in the Royal Library at Windsor... By then the prince’s


initial enthusiasm had dulled; he was beset with financial difficulties and had laid aside all elaborate schemes<br />

for the enlargement of the pavilion” (Millard op.cit. pp.243-244). Repton’s designs were inspired directly by<br />

the wonderful Indian architecture so ably pictured in Thomas and William Daniell’s Oriental Scenery (1795-<br />

1808).<br />

First published in 1808, the present issue dates from 1822 and may mark an attempt to take advantage of<br />

the interest generated when architect John Nash completed his work on the Pavilion for King George IV.<br />

Between 1815 and 1822 Nash redesigned and greatly extended the Pavilion, and it is the work of Nash which<br />

can be seen today. The pavilion as it was finally completed still owed a huge debt to Indian architecture but<br />

was in a form which re-interpreted the Indian ideal in a fashion more suitable to both English tastes and<br />

climate.<br />

Abbey Scenery 57 (1822 watermarks) and cf.55; Millard British 66 (2nd edition); cf. Tooley p.207; cf. Prideaux p.349<br />

(#25450)<br />

$ 14,000


60<br />

ROBERTS, David (1796-1864).<br />

The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia. After lithographs by Louis Haghe from drawings<br />

made on the spot by David Roberts...with historical descriptions by the Revd. George Croly.<br />

London: Day & Son, 1855-56. 6 volumes in three, quarto (11 1/2 x 8 1/8 inches). List of subscribers.<br />

Tinted lithographic portrait of Roberts, 2 uncoloured lithographic maps, 6 tinted lithographic titles<br />

with vignette illustrations, 241 tinted lithographic plates after Roberts. Publisher’s full light brown<br />

morocco, covers blocked in gilt with wide decorative borders surrounding the centrally blocked<br />

arms of the City of Jerusalem, neatly rebacked preserving original spines in six compartments with<br />

raised bands, lettered in the second and fourth, the others with repeat patterns in gilt, cream glazed<br />

endpapers, g.e. Provenance: Richard Moreland, Jr. (circular armorial bookplate).<br />

A fine original set of the quarto edition of Roberts’ masterpiece.<br />

David Roberts was born at Stockbridge near Edinburgh, and at the age of ten was apprenticed to Gavin<br />

Buego, a house painter. He continued to work for Buego after the end of his apprenticeship, carrying out<br />

work in imitation stone-work and panelling at Scone Palace and Abercairney Abbey. By 1818 Roberts had<br />

become assistant scene painter at the Pantheon Theatre in Edinburgh, moving to theatres in Glasgow and<br />

finally in late 1821 to the Drury Lane Theatre in London where he worked with Clarkson Stanfield. Both<br />

artists exhibited regularly at the Society of British Artists, Royal Academy and the British Institution and by<br />

1830 Roberts was able to give up his theatre work. In these early years he toured Scotland and the Continent,<br />

visiting Spain in 1832-1833.<br />

His desire to travel farther afield was finally realized when in August 1838 he arrived in Alexandria. It is<br />

claimed that he was the first European to have unlimited access to the mosques of Cairo - with the proviso<br />

that he did not desecrate the holy places by using hog’s bristle brushes. Leaving Cairo, he sailed up the Nile<br />

to record the monuments represented in the Egypt and Nubia part of the work and traveled as far as the<br />

Second Cataract.


On his return to Cairo, Roberts formed a party which included John Kinnear, who left his own account<br />

of the ensuing journey Cairo, Petra and Damascus (published in 1839). The party adopted Arab dress and<br />

set out with over twenty camels and a native bodyguard. Their route to Petra took them via Mount Sinai,<br />

St.Catherine’s Monastery and Akaba. The period at Petra (or Idumea) was for Roberts one of the high points<br />

of the entire journey. Only trouble with local tribes forced him to move on to Hebron. From here rumours<br />

of plague in Jerusalem forced a detour to Gaza, Askalon and Jaffa before it was safe to enter the Holy City.<br />

From here he also visited Jericho, Lake Tiberias and other biblical sites. Finally Roberts made his way to the<br />

Mediterranean via Nablus and Nazareth and then visited the coastal cities of Tyre, Sidon and Acre. Baalbek<br />

was the last place visited before a combination of ill-health and the worsening political situation forced him<br />

to abandon hopes of reaching Damascus and Palmyra, instead he went to Beirut and thence homewards.<br />

After some initial difficulty in finding a publisher, Roberts published the results of his travels between 1842<br />

and 1849 in six large format volumes, to great critical and popular acclaim. The success of the folio issue was<br />

sufficient to persuade Day & Son to take on the publication of the present quarto edition of “one of the most<br />

important and elaborate ventures of nineteenth-century publishing” (Abbey), with the “plates...reduced to<br />

the required size by means of photography” (advertisement in the Monthly Literary Advertiser for June<br />

1855). The present edition was originally available from the publishers in various forms, the present set in<br />

morocco being the most expensive at nine guineas for the set.<br />

Abbey Travel II 388.<br />

(#26710)<br />

$ 12,000


61<br />

RODRIGUES [or RODRIGUEZ], Etienne Alexander.<br />

An album containing 18 hand-coloured lithographed plates, most of Hindoo caste members.<br />

[Madras: Oriental Lithographic Press, [circa 1838]. Large 4to (11 1/4 x 14 inches). 18 hand-coloured<br />

lithographed plates (10 3/4 x 8 1/8 inches and smaller) by Salisbury and others after Rodrigues,<br />

printed and published by the Oriental Litho. Press, each tipped onto a backing sheet with applied gold<br />

border, all mounted onto laid paper. Expertly bound to style in dark green straight grained morocco,<br />

covers with a large onlaid panel of red paper, spine with wide flat bands in six compartments, lettered<br />

in the second compartment, the others with a repeat decoration in gilt.<br />

A fine album containing a significant selection of Rodrigues’s charming and very rare colour plates published in<br />

Madras.<br />

The present selection includes two images of the Schatryra or royal caste (a Hindoo King and Queen) with<br />

two associated plates showing details of the jewellery the king and queen are wearing, 14 images of the<br />

members of other castes (mostly Brahmin), and two images of the Hindu deities, Kali and Siva.<br />

Rodrigues, chief draughtsman in Madras for the East India Company, seems to have published at least<br />

two illustrated works in Madras in the 1830s and early 1840s: the first one concentrating on the various<br />

castes and the second on the Hindoo gods. In 1846 in London, Ackermann published one volume with 50<br />

plates by Rodrigues (or Rodriquez) under the title The Hindoo Castes. The history of the Brahminical Castes.<br />

In a contemporary announcement in Allen’s Indian Mail for 1846, the author made clear his intention of<br />

publishing a further three volumes on “the three other great divisions of the Hindoo Castes.” This plan<br />

apparently never came to fruition. Significantly, the present selection of plates is from Rodriguez’s earlier<br />

works published in India, rather than the Ackermann London publication which followed.<br />

Cf. Mildred Archer,India Observed p.116.<br />

(#25290)<br />

$ 8,500


62<br />

ROGERS, Captain Woodes (d. 1732).<br />

A Cruising Voyage Round the World: First to the South-Seas, thence to the East Indies, and homewards<br />

by the Cape of Good Hope. Begun in 1708, and finished in 1711 ... The Second Edition, Corrected.<br />

London: Printed for Bernard Lintot, 1726. 8vo (7 1/2 x 4 3/4 inches). 5 engraved folding maps, 2<br />

folding plates. Contemporary speckled calf, covers with a double fillet gilt border, spine with raised<br />

bands in six compartments, ruled in gilt on either side of each band, red morocco lettering piece in<br />

the second compartment.<br />

An important account of an early Pacific voyage and a British buccaneering classic: this edition with two<br />

additional plates of alligators not found in the first edition.<br />

Rogers, who was accompanied by William Dampier as his pilot, went out via Cape Horn, rescued Alexander<br />

Selkirk from the island of Juan Fernandez (making this the source book for Robinson Crusoe, with an<br />

account of his experiences), and then attacked Spanish shipping on the west coast of South America and<br />

Mexico, succeeding in taking the Acapulco galleon in 1709, as well as other prizes. The expedition went<br />

as far north as California, and put into various ports in South America. The maps show the voyagers’<br />

track around the world and the South Sea coast of America from the island of Chiloe to Acapulco. The<br />

sources for some of these maps include manuscripts taken from the Spanish on the expedition. Rogers’s<br />

eyewitness account of his adventures provides an important contemporary source for its vivid descriptions<br />

of buccaneering life on the high seas.<br />

This edition, stated on the title as the second but actually the fourth, is desirable for the additional plates not<br />

found in the previous: “It is the same as the second edition of 1718, except for a new title and the addition of<br />

two plates representing the alligator and crocodile, drawn from life” (Hill). This edition considerably more<br />

scarce than the first edition of 1712 or the second edition of 1718.<br />

Hill 1480; Howes R421, “b”; Sabin 72755; Wagner, Spanish Southwest 78 (first edition); Borba de Moraes, p. 744 (“very rare”);<br />

NMM, Piracy & Privateering, 472 (first edition).<br />

(#26406)<br />

$ 3,750


63<br />

ROUSSELET, Louis-Theophile Marie (1845-1929).<br />

[Voyage dans l’Inde].<br />

[Paris: Goupil, 1869]. Oblong folio (17 x 24 1/2 inches). 60 albumen photographs (numbered 1-53,<br />

90, 91, 93, 109, 113, 122 and 154), mounted onto India paper with printed captions in French and<br />

English. Images measuring approximately 6 1/4 x 8 1/2 inches. Expertly bound to style in half black<br />

morocco over period paper covered boards.<br />

Very rare collection of albumen photographs from the early period of photography in India.<br />

In 1864, at the young age of 19, Louis Rousselet arrived in India seeking to study the architecture and<br />

ancient ruins of the sub-continent. In 1866, after visiting the ruins at Dabhoi, Rousselet realized that his<br />

pencil sketches could never do justice in conveying the beauty of the elaborate architecture and carving. He<br />

would later write, “It was on seeing these generally unknown masterpieces at Dubbhoee that I regretted I<br />

had not the power of reproducing them by photography, and felt that it would be impossible to continue<br />

my explorations profitably without the assistance of that art. As soon, therefore, as I returned to Baroda, I<br />

applied myself seriously to learn photography; and with that view I procured from Bombay all the necessary<br />

apparatus” (Rousselet, India and its Native Princes, p. 122).


From that point forward, Rousselet assiduously photographed the region. After six years of extensive overland<br />

travel, Rousselet returned to France to publish serially, and later as a book, an account of his experiences.<br />

That work is illustrated with many engravings after photographs taken by the author. Issued separately<br />

from the text, and likely only in a very small number for select friends and patrons, Rousselet printed 160<br />

photographs from his journey.<br />

The 60 images present in this volume cover sites in the following places: Agra (5), Futtehpore-Sikri (5),<br />

Dholepore (2), Gwalior (10), Lashkar (3), Duttiah (4), Soonaghur (4), Barwa Sagur (3), Govindgurh (4),<br />

Jhansie (2), Oorcha (8), Kajraha (3), Oudeypour (3), Ajmeer (2), Ulwur (1), and Nagode (1). The majority<br />

of the images are architectural studies, including palaces, castles, temples, tombs and monuments, but also<br />

include city views, landscapes, ruins, forts and its peoples. Among the most spectacular plates are those<br />

treating the Taj Mahal, the ruins of Fatehpur-sikri, the summer palace of the Maharajah of Rewah (including<br />

a portrait of the Maharajah and his court), as well as the Mahadeva Temple.<br />

Although self-trained, Rousselet’s photographs show incredible perception of the art. His images show<br />

strong contrasts, are artfully composed with elements in the foreground and are taken from appealing<br />

angles. Rousselet’s artistic compositions are even more impressive considering the harsh conditions of the<br />

environment. He would later write that after visiting the Mahadeva Temple, “...the heat had become so<br />

overwhelming that I scarcely knew how to contrive to bear the temperature of my portable laboratory, --<br />

indeed, what will always remain inexplicable to me, is how, in such a centre, I ever succeeded in preparing<br />

the plates with wet collodion, -- it is impossible to form an idea of the suffering and fatigue each one of the<br />

photographs I took at this period of my journey cost me...” (Rousselet, India and its Native Princes, p. 429).<br />

The condition of the images in this volume is quite good, with little to no fading and strong contrasts with<br />

purply tones. Only two collections of all 160 images are known to be extant (Duke University and a set<br />

identified by Lafont-Couturier and Renie as one privately held by descendents of Rousselet). Further attesting<br />

to the rarity of Rousselet’s photographs, the Bibliotheque Nationale de France holds but 17 individual images.<br />

[With:] ROUSSELET, Louis-Theophile Marie. L’Inde des Rajahs: Voyage dans L’Inde Centrale et dans les<br />

Presidences de Bombay et du Bengale. Paris: Librarie Hachette et Cie, 1875. Large 4to (13 1/8 x 9 3/4 inches).<br />

Numerous wood-engraved illustrations and plates after photographs by Rousselet. Publisher’s red morocco<br />

backed red cloth boards, elaborately blocked in gilt and black, designed by A. Souze.<br />

Cf. Rousselet, India and its Native Princes (London: 1882); cf. Lafont-Couturier and Renié, L’Inde Photographies de Louis<br />

Rousselet 1865-1868, (Bordeaux: Musée Goupil, 1992).<br />

(#25382)<br />

$ 68,000


64<br />

ROYLE, John Forbes (1799-1858).<br />

Illustrations of the Botany and other branches of the Natural History of the Himalayan Mountains, and<br />

of the Flora of Cashmere.<br />

London: printed by J.L. Cox & Sons for Wm. H. Allen & Co., [1833-]1839[-1840]. 2 volumes in<br />

1, small thick folio (14 1/8 x 10 3/8 inches). Half-titles. Hand-coloured aquatint frontispiece view<br />

of the Himalayas by J. Clark after Lt.Col. R. Smith, 1 hand-coloured plate of a geological section<br />

of the Himalayas, 3 uncoloured lithographic plates of fossils, hand-coloured lithographed plan of<br />

the botanic garden at Saharanpore and 96 hand-coloured natural-history plates, drawn on stone by<br />

Maxim Gauci and others, coloured by John Clark[e] or Mr.Barclay, after Vishupersaud, Miss Drake,<br />

W. Saunders, Luchmun Sing, J.T. Hart and others, printed by Graf & Soret (comprising: 2 plates of<br />

mammals, 2 plates of birds, 2 plates of insects, and 90 botanical plates). Expertly bound to style in<br />

half dark green morocco over contemporary marbled paper covered boards, marbled endpapers,<br />

marbled edges.<br />

First edition of this “pioneering ecological study” (Rix) on the trees, shrubs and flowers of the Himalayan region<br />

of the Indian sub-continent, illustrated with delightful images after Vishnuperand: the greatest Indian botanical<br />

artist of his time.<br />

Born in Cawnpore the son of an officer in the service of the East India Company, John Forbes Royle joined<br />

the medical staff of the Bengal Army in Calcutta in 1819 or 1820. Three years later, in 1823, he was able to<br />

combine his medical and military duties with his love of botany when he was appointed superintendant of<br />

the botanical garden at Saharunpore. He carried out a thorough investigation of the properties of traditional<br />

plant-based Indian drugs, buying them in the bazaars, and in the present work (vol.I, pp.239-240) he also<br />

recommends the establishment of cinchona (the basis for quinine) in India. He was one of the first to botanise<br />

in the Himalayas, and his position at Saharunpore allowed him to commission Vishnupersaud and others<br />

to produce an important and valuable collection of beautiful and highly accurate drawings of the specimens<br />

he found during his plant-hunting expeditions. The resulting collection also contained the first visual record<br />

of many species.<br />

In 1831, Forbes returned to England with his herbarium and collection of drawings, and the publication of<br />

the present work began with the publication of the first (of 11) parts in September 1833. The work progressed<br />

steadily until May 1836 (when the 9th part was published), but Forbes appointment as professor of materia<br />

medica at King’s College, London, in 1837 seems to have delayed the appearance of the tenth part until<br />

February 1839, and the final eleventh part in March or April 1840.<br />

The majority of the plates are after Vishnupersaud (or Vishnu Prasad), “the most talented of the native<br />

Indian [botanical] artists” (Blunt). He was employed by many of the most important plant collectors and<br />

botanists of the time, including Nathaniel Wallich and Robert Wight, and unfortunately, he remains one of<br />

only a handful of early 19th-century Indian botanical artists whose names are known - this in itself is an<br />

indication of the high esteem in which his work was held by western botanists at the time. An examination<br />

of the large collection of his original drawings still held by the India Office Library and the Kew Herbarium<br />

confirms his reputation amongst his contemporaries. The transfer of the drawings onto stone was carried<br />

out by the greatest of the early lithographers of botanical subjects: the Maltese born Maxim Gauci, and,<br />

unusually, Forbes also gives the names of the colourists: Mr. Clarke (probably John Clark who coloured the<br />

plates in Wallich’s Plantae Asiaticae) and Mr. Barclay<br />

BM(NH) IV,p.1758; Bradley Bibliography I,p.472; Great Flower Books (1990) p.134; Nissen BBI 1690, Massachusetts Horticultural<br />

Society Library p.272; M.Rix. The Art of the Plant World p.183; Stafleu & Cowan IV,9734<br />

(#26139)<br />

$ 15,000


65<br />

RUSSIA, IMPERIAL PORCELAIN FACTORY.<br />

Imperatorskii Farforovyi Zavod. 1744-1904.<br />

St. Petersburg: Upravlenie Imperatorskimi<br />

zavodami, 1906. Folio (14 12/ x 11 1/4 inches).<br />

Title and majority of text in Russian in Cyrillic type,<br />

pp.327-372 in French. Photogravure frontispiece<br />

and 12 plates on india paper mounted, 1<br />

chromolithographic plate, occasional decorations<br />

and 493 numbered half-tone illustrations in the<br />

text. Extra-illustrated with tipped-in descriptions<br />

in English on small-format Hammer Galleries<br />

headed paper of Russian porcelain in the collection<br />

of Mrs. John W. Riser, the title-page with the neat<br />

calligraphic addition of an English translation of<br />

the title with additional text “With translations<br />

concerning the Collection of Mrs. John W. Riser.<br />

1935 / By The Hammer Galleries, Inc.”, the onion<br />

paper title/guard sheets to each plate with English<br />

translations of the captions in the same calligraphic<br />

hand, the same to occasional illustration captions,<br />

the fore-edges with applied celluloid thumb-tags,<br />

with paper inserts identifying what is flagged. (Occasional tears to areas around thumb-tags). Later<br />

red cloth, titled on red morocco spine label, upper cover lettered in gilt, t.e.g., original wrappers<br />

bound in. Provenance: Mrs John W. Kiser (300 Park Avenue, NY, NY, title page, inserts dated March<br />

1934 - June 1935); Max Safron (binding, ink stamps on front pastedown).<br />

An interesting copy of a work that is an important reference on the productions of the Imperial Porcelain Factory<br />

of pre-Revolutionary Russia.<br />

The Russian Imperial Porcelain Factory in St. Petersburg was founded on the orders of the Empress Elisabeth,<br />

daughter of Peter the Great. The first technical director, Christoph Conrad Hunger, proved to be unable to<br />

produce porcelain from the materials at hand, despite having worked with Bottger at Meissen and at various<br />

other European manufactories. Hunger was dismissed in 1747, and Dimitri Vinogradov was appointed<br />

in his place. Vinogradov had trained as a mining engineer, but was also a skilled technician with a good<br />

understanding of chemistry. Using only materials available in Russia he came up with a successful formula<br />

that produced fine quality porcelain. With informed Imperial input from Elizabeth and her successors, the<br />

Imperial Porcelain Manufactory not only survived but prospered. The present work charts the productions<br />

of the IPM from the mid-18th century until the October Revolution of 1917, beautifully illustrated with<br />

examples from all periods, and with a plate at the end with facsimiles of the various marks that were employed.<br />

This copy is particularly interesting as it recalls the work of the Hammer Galleries in building collections of<br />

Russian art in the West and preserving a great deal of the Russian heritage that might otherwise have been<br />

lost. Specifically, this copy appears to have been prepared for a keen collector of Imperial Porcelain: Mrs.<br />

John W. Kiser of New York City.<br />

(#23164)<br />

$ 7,500


66<br />

SEEMANN, Berthold Carl (1825-1871).<br />

Narrative of the Voyage of H.M.S. Herald during the Years 1848-51, under the Command of Captain<br />

Henry Kellett ... Being a Circumnavigation of the Globe and Three Cruizes to the Arctic Regions in<br />

Search of Sir John Franklin.<br />

London: Reeve & Co, 1853. 2 volumes, octavo (8 3/4 x 5 1/2 inches). Half-titles, 16pp. advertisements<br />

in rear of vol. 2. 2 tinted lithographic plates by Hullmandel & Walton, 1 folding tinted lithographed<br />

map, with the routes marked by hand in red, printed by A. Petermann. Publisher’s blue pebbled<br />

cloth, covers bordered in blind, spine lettered in gilt, yellow endpapers.<br />

First edition of a Franklin search Arctic narrative and important voyage to California.<br />

The well-known Arctic explorer Sir John Franklin and his entire expedition disappeared in 1847 whilst<br />

attempting to chart and navigate a section of the Northwest Passage in the Canadian Arctic. Public interest<br />

and the energetic efforts of his widow, Lady Jane Franklin, ensured that the Admiralty and the British<br />

government were quick to send out relief expeditions. The present narrative details how, in April 1848,<br />

Captain Kellett’s expedition was diverted from its primary objective (a circumnavigation and hydrographical<br />

survey of the Pacific), and ordered to join the search from the westward end of the supposed North-West<br />

passage. The HMS Herald went through the Bering Strait and along the northwestern extremity of Alaska,<br />

eventually making three separate voyages to the region in 1848-1850. Seemann summarises all of the major<br />

search expeditions carried out from January 1848 to January 1853, in chapter XII of the present work.<br />

Seemann, a naturalist, had joined the expedition aboard the Herald in 1847. His narrative is a combination<br />

of his own observations and others, and aptly documents the exploration of “most of the west coast of<br />

America, the Galápagos and Hawaiian Islands, Kamchatka, Bering Strait, Alaska and the Arctic Ocean.<br />

Extensive land exploration was undertaken in Brazil, Peru, Ecuador, Panama, and Mexico. In September,<br />

1846, the Herald anchored in San Francisco Bay, and Seeman records a visit to Mission Delores, at that time<br />

occupied by a party of Mormons” (Hill). Of the California portion of the narrative, Howes notes that the<br />

expedition “visited San Francisco, Monterey and San Diego just after the Conquest.”<br />

Arctic Bibliography 15680; Hill (2004) 1546; Howes S-271; Lada-Mocarski 141; Sabin 78867; Stafleu & Cowan 11602;<br />

Wickersham 6593<br />

(#27026)<br />

$ 2,750


67<br />

STIRLING-MAXWELL, Sir William (1818-1878); and Nicolaas HENNEMAN (1813-1898, photographer).<br />

Annals of the Artists of Spain ... [With:] Talbotype Illustrations to the Annals of the Artists of Spain.<br />

London: John Ollivier, 1848 [vols I-III] - 1847 [vol. IV, but 1848]. 4 volumes, large 8vo (10 3/4 x<br />

7 1/8 inches). [Vols. I-III:] Text ruled in red throughout. Letterpress title pages printed in red and<br />

black (with a duplicate title in vol. 3), color lithographed additional title pages (with an additional<br />

unnumbered title in vol. 3), 14 plates (including 12 mounted India paper proofs), numerous text<br />

illustrations. [Vol. IV:] Interleaved with blanks throughout, mounted Talbotype title, mounted<br />

Talbotype dedication, 66 mounted Talbotype photographs (on 62 leaves, one double-page), all by<br />

Nicolaas Henneman. Contemporary full red morocco by F. Bedford, covers elaborately gilt with the<br />

arms of Spain on the upper covers and Stirling’s monogram on the lower covers, spines with raised<br />

bands in six compartments, lettered in the second and third, the others with a repeat decoration<br />

in gilt, marbled endpapers, g.e. Provenance: John Dundas (presentation inscriptions by the author<br />

dated 18 July 1848 [vol. I] and 12 August 1848 [vol. iv]); F. E. Dinshaw (armorial bookplate).<br />

An incunable of 19th century photography: one of 25 large-paper presentation copies of Stirling’s groundbreaking<br />

study of Spanish art illustrated with photographs by Henry Fox Talbot’s assistant. One of the earliest and rarest<br />

of all photographically illustrated books and the first photographically illustrated book on art.<br />

“The existence of this fourth volume of Talbotypes has enabled the Annals of the Artists of Spain to be hailed<br />

as the first art history book to be illustrated with photographs ... this volume marked the beginning of a<br />

revolution in the methodology of art history, in which photographs and photographically illustrated books<br />

would become essential tools” (Macartney).<br />

In the mid-19th century, Spanish art was not well studied or appreciated outside of Spain. On a Grand<br />

Tour journey to Spain and the Middle East in the early 1840s, however, Stirling was greatly influenced by<br />

the art of the region and began collecting in earnest. Upon return to England, and seeing a very slender<br />

body of English work on the subject, he conceived the present work. After a draft of the work was rejected<br />

by publisher William Murray in 1845, Stirling decided to privately-print this groundbreaking history which<br />

introduced the artists El Greco, Velazquez, Murillo, Ribera and Goya to much of the English speaking world.


Of the text, Stirling would print 750 regular copies (of which 25 were specially bound), and 25 large-paper<br />

copies (like the present), described in the limitation: “with red marginal lines, proof impressions of the plates<br />

on India paper, and two extra plates.” To these large-paper, presentation copies, a fourth volume was added,<br />

containing 66 illustrations reproducing examples of Spanish art using “the beautiful photographic process<br />

invented by Mr. Fox Talbot” (vol. IV Preface).<br />

The photographs in the fourth volume are by Nicolaas Henneman, William Fox Talbot’s assistant, who is<br />

described by Stirling as “the intelligent agent of the inventor” (vol. IV Preface). It is unclear what prompted<br />

Stirling to illustrate the presentation copies using the new art of photography. On his initial tour in Spain, like<br />

many of the tourists from that period, he brought with him a camera lucinda. His interest in photography<br />

was no doubt further advanced by the publication of Talbot’s Pencil of Nature (1844-46) and Sun Pictures<br />

of Scotland (1845), both of which had avid following among the Scottish elite. Macartney further suggests<br />

that Stirling would have realized the duality between the exact reproductive nature of photography and the<br />

defining realism portrayed in Spanish art relative to Italian art.<br />

Nevertheless, using photography to illustrate these Spanish masterpieces was not without considerable<br />

difficulty. Indeed, the art selected to be photographed was greatly limited by size and the necessity of bringing<br />

the art outside into the sunlight to be photographed. Early on, Stirling also realized the delicate nature of<br />

Talbotypes, writing to a bookdealer in 1856 - just eight years after publication - that a client not rebind<br />

the photographs into the text of the Annals (i.e. instead of their being in a separate volume, as intended),<br />

writing, “He is lucky if his set is not fading, or faded; wh. I fear all have, is further increased, according to<br />

some people’s opinion, if the plates are faced by paper of some particular quality...” (quoted in Macartney).<br />

Many of the extant copies of the photographs show considerable retouching; the present set without these<br />

crude repairs.<br />

The experimental nature of this incunable of photography is further evidenced by the strict limitation of<br />

copies printed. The large-paper issue was limited to only 25 sets. However, from Henneman’s records<br />

which have survived, 50 sets of the photographs were printed. Macartney suggests that these 25 additional<br />

sets were printed and mounted on smaller sheets to accompany the 25 “specially bound” sets of the regular<br />

issue text; another possibility is that they could have been printed to supply replacement photographs to the<br />

presentation copies. Either way, it stands to reason, that the best prints were selected for the deluxe, largepaper<br />

presentation issue.<br />

“Because of its method of illustration [Stirling’s Annals] is to be regarded as the cornerstone of all modern<br />

artistic connoisseurship, for it contained the first exactly repeatable pictorial statements about works of art<br />

which could be accepted as visual evidence about things other than mere iconography. It was no longer<br />

necessary to put faith in the accuracy of the observation and skill of the draughtsmen and the engravers.<br />

These reports were not only impersonal but they reached down into the personality of the artists who made<br />

the objects that were reproduced” (Ivins).<br />

The four-volume, deluxe, large-paper, presentation issue with the photographs is exceedingly rare. Of the 25<br />

copies which were printed, Macartney estimates that only 16 are extant (including examples in the British<br />

Library, the Metropolitan Museum of Art, the Hispanic Society of America, Museo del Prado, and the<br />

National Library of Scotland). The present copy, in a glorious binding by Bedford, is inscribed by Stirling to<br />

noted solicitor and Writer to the Signet John Dundas, who was a relative of the Stirling family, and a close<br />

associate and neighbor of the author’s father.<br />

Truthful Lens 157; Gernsheim 9; Macartney, H. “William Stirling and the Talbotype Volume of the Annals of the Artists of<br />

Spain” History of Photography, 30 (4). pp. 291-308; Ivins, Prints and Visual Communication, p. 124; Encyclopedia of Nineteenth<br />

Century Photography, vol. 1, pp. 648-650.<br />

(#26342)<br />

$ 57,500


68<br />

STRAHLENBERG, Philipp Johann von (1676-1747).<br />

An Histori-Geographical Description of the north and eastern part of Europe and Asia; but more<br />

particularly of Russia, Siberia, and Great Tartary; both in their ancient and modern state: together with<br />

an entire new polyglot-table of the dialects of 32 Tartarian nations: and a vocabulary of the Kalmuck-<br />

Mungalian tongue. As also, a large and accurate map of those countries ... Written originally in high<br />

German ... Now faithfully translated into English.<br />

London: printed for J. Brotherton, J. Hazard, W. Meadows [and others], 1738. Quarto (8 5/8 x 6 5/8<br />

inches). 1 large folding engraved map “Nova descriptio geographica Tattariae Magnae...” (by Seale,<br />

dated 1737, sheet size: 26 x 39 inches), 1 folding woodcut map, 1 folding letterpress chart, 10 engraved<br />

plates (3 folding) at rear, and numerous illustrations in the text (old dampstaining). Modern antique<br />

calf, covers panelled in blind, spine in six compartments with raised bands, lettering-piece in the<br />

second, repeat decoration in blind in the other compartments. Provenance: J. Lind (inscription dated<br />

1778): discrete indistinct blindstamp to leaves a2-4.<br />

Second edition in English of a key work on Siberia and Mongolia, with an important large folding map of the<br />

region.<br />

A Swedish officer taken prisoner during Charles XII’s campaign in Russia, Strahlenberg was held captive in<br />

Siberia for thirteen years. Situated in Tobolsk from 1711 to 1721, he was able to explore the lower basins of<br />

the Ob and Yenisey rivers, gathering the geographical information regarding the northern and eastern parts<br />

of Europe and Asia recorded in this book and its large folding map.<br />

The text is of great importance offering much first-hand information -- geographical, historical and<br />

ethnographic -- about Siberia and Great Tartary. The work also includes early descriptions of the linguistics<br />

of the region, with a Kalmyv vocabulary including the translations of Mongolian words.<br />

The most important aspect of the present work, however, is Strahlenberg’s rare and significant map<br />

representing the Russian realm and Great Tartary, containing extensive information regarding Siberia.<br />

Strahlenberg utilized a wide array of sources in preparing his map. He used his own latitude calculations,


as well as readings he had taken with Daniel Gottlieb Messerschmidt, a Prussian naturalist with whom he<br />

travelled in Russia. Measurements and other geographic information were obtained from other sources<br />

as well, including Swedish officers on different expeditions, Swedish and German travellers, and Russian<br />

cartographers and explorers.<br />

The present second English edition (after the first edition in 1730 and the first edition in English of 1736)<br />

was re-engraved by R.W. Seale. The map encompasses the area between 50° and 185° east longitude and<br />

32° and 75° north latitude. It records the Russian territories from west of Moscow to Japan in the east and<br />

includes northern China, Tibet, and Turkestan in the south. Neighboring countries such as Poland, Persia,<br />

India, and Mongolia are documented. Numerous important geographic features are also represented: the<br />

Arctic and Pacific oceans, and the Caspian Sea; the Urals, Caucasus, and the Himalayan mountains; and the<br />

Gobi desert.<br />

The map is most notable, however, for its accurate representation of Siberia, particularly the settlement<br />

patterns of the region’s various populations. Bagrow notes that after Semyon Remezov’s map, Strahlenberg’s<br />

map is the “most important source of historical-geographical information about Siberia.”<br />

Cf. Cordier 2713; cf. Cox I, 194; Lowndes III, 2528.<br />

(#24506)<br />

$ 11,000<br />

69<br />

SWEET, Robert (1783-1835).<br />

Geraniaceae. The Natural Order of Gerania.<br />

London: Tilling for James Ridgway, 1820-1830. 5 volumes, 8vo (9 3/8 x 5 7/8 inches). 500 handcoloured<br />

engraved plates by S. Watts after Edwin Dalton Smith, heightened with gum arabic.<br />

Contemporary full smooth tan calf, bound by J. Clarke, covers with a gilt triple fillet border, spines<br />

with raised bands in six compartments, light green morocco labels in the second and third, the<br />

latter with volume number on an inlaid red morocco roundel, the other compartments with overall<br />

repeat decoration in gilt, marbled endpapers, gilt edges.


A fine set of the first edition of Sweet’s beautiful monograph on the Geranium and practical guide to its cultivation.<br />

An invaluable source of information on the numerous varieties of geranium introduced into the gardens of<br />

Great Britain, each plate accurately illustrates a single variety, accompanied by a taxonomic description and<br />

instructions for its cultivation and care.<br />

A horticulturalist, botanist and ornithologist, Sweet was born and raised in Devon, serving his apprenticeship<br />

under his half-brother James in the gardens at Ham Green, residence of Richard Bright. He was subsequently<br />

gardener to John Julius Angerstein at Woodlands. From 1810 until the mid-1820s he worked as a nurseryman<br />

at Stockwell, Fulham and Chelsea, being elected a fellow of the Linnean Society in 1812. After 1826 he<br />

devoted himself almost entirely to botanical publications.<br />

Dunthorne p.241; Great Flower Books (1990) p.141; Nissen BBI 1926; Stafleu and Cowan 13.543.<br />

(#26851)<br />

$ 17,500


70<br />

THIERRY, A.<br />

Colonie Agricole et Penitentiare de Mettray.<br />

[Paris]: Imprimerie de Lemercier, [circa 1850]. Oblong folio (11 x 15 3/4 inches). Lithographed<br />

title and 20 lithographed plates by Sauve, Tirpenne and Faivre after Thierry. Publisher’s burgundy<br />

patterned cloth stamped in blind and gilt, with a floral and arabesque design, gilt lettering on upper<br />

cover, expertly rebacked to style, yellow endpapers (covers a bit abraded).<br />

First edition of a very rare book of views of a French prison for juvenile delinquents.<br />

Founded in 1840 by Frederic Demetz with just six inmates, the juvenile-only facilities of the Colonie Agricole<br />

et Penitentiare de Mettray was a revolutionary penal institution inasmuch as youth delinquents had hitherto<br />

been incarcerated with adult offenders. Demetz worked in conjunction with Guillame-Abel Blouet, perhaps<br />

better known for the final design of the Arc de Triomph, with a goal of actually rehabilitating young criminals<br />

rather than simply warehousing them. Set in an orderly open-air environment, the colony promoted manual<br />

labor and prayer, work, education and moral rectitude. Like many other idealistic attempts at penal reform,<br />

the once revolutionary methods at the Colonie Agricole et Penitentiare de Mettray devolved into often cruel<br />

and harsh punishment amidst deplorably overcrowded conditions. The full-page lithographs in this volume<br />

recount the various idealized activities and so-called schools within the colony, ranging from a general view<br />

of the colony, to church services, to sleeping quarters, to mess halls to agriculture and mining.<br />

(#26694)<br />

$ 6,500


71<br />

VAN LENNEP, Henry John (1815-1889).<br />

The Oriental Album: Twenty illustrations in oil colors of the people and scenery of Turkey, with an<br />

explanatory and descriptive text.<br />

New York: Anson D.F. Randolph, 1862. Folio (18 x 13 3/4 inches). Tinted lithographic additional<br />

title by Charles Parsons, printed by Endicott & Co., 20 chromolithographic plates by Parsons after<br />

van Lennep, all printed by Endicott & Co. of New York. (Text somewhat toned as usual, minor foxing<br />

to the additional title, the plates generally clean). Original morocco-backed maroon pebble-grain<br />

cloth, upper cover blocked in gilt with the title above and below a vignette of a veiled lady seated on<br />

a camel being led by an arab, beneath a crescent moon, beside some palm trees.<br />

A rare and important color-plate book: One of the relatively few American costume books, and certainly the best<br />

such created in 19th-century America.


This is a notable and unusual instance of the taste for the Ottoman or “Turkish” which manifested itself in<br />

the furniture of the period but seldom in books. In terms of American color-plate books, this is one of the<br />

only large projects from the 1860s, when the Civil War seems to have curtailed production of such lavish<br />

enterprises. “The one really big chromolithographic book of this decade ... the art is simple, but [Charles]<br />

Parson’s hand is obvious in the good lithography, and Endicott’s printing is well done for its time” (McGrath).<br />

“Endicott achieved a rich variety of color which demonstrated the increased technical ability of American<br />

printers in the medium” (Reese).<br />

Henry Van Lennep was born in Smyrna, the son of European merchants. Educated, on the advice of<br />

American missionaries, in the United States, he returned to Turkey as a missionary in 1840, and spent most<br />

of the next twenty years in various parts of the Ottoman Empire. Returning to the United States in 1861,<br />

he turned his superb original drawings of Middle Eastern life into the Oriental Album. The plates include<br />

two scenes of Jewish life in the Ottoman Empire. Included are plates of “A Turkish Effendi”, “Armenian<br />

Lady (at home)”, “Turkish and Armenian Ladies (abroad)”, “Turkish Scribe”, “”Turkish Lady of Rank (at<br />

home)”, “Turkish Cavass (police officer)”, “Turkish Lady (unveiled)”, “Armenian Piper”, “Armenian Ladies (at<br />

home)”, “Armenian Marriage Procession”, “Armenian Bride”, “Albanian Guard”, “Armenian Peasant Woman”,<br />

“Bagdad Merchant (travelling)”, “Jewish Marriage”, “Jewish Merchant”, “Gypsy Fortune Telling”, “Bandit<br />

Chief ”, “Circassian Warrior”, “Druse Girl.”<br />

Bennett, p.108; Blackmer <strong>Catalogue</strong> 1715; Blackmer Sale 1500; DAB XIX, 200; McGrath, pp.38, 115, 162; Reese, Stamped with<br />

a National Character 97; Atabey 1274<br />

(#26763)<br />

$ 12,000


72<br />

VIERO, Teodoro (1740-1819).<br />

Raccolta di ... Stampe, che rappresentano, figure ed Abiti die varie Nazioni, secondo gli Originali, e le<br />

Descrizioni dei piu celebri recenti viaggiatori, e degli scopritori di Paesi nuovi.<br />

Venice: Teodoro Viero, 1783-1791. 3 parts in one, folio (16 1/2 x 11 1/4 inches). Engraved title<br />

to each part, frontispiece showing ‘Europa’ in part one repeated in part two, the final part with<br />

three frontispieces of America, Africa and Asia, 360 engraved costume plates, most before numbers,<br />

captions in Italian and French. Early 19th-century red morocco, covers with vine leaf and palmette<br />

panel, spine with repeated foliate panels, gilt turn-ins, marbled endpapers, gilt edges. Provenance:<br />

Beriah Botfield, Longleat.<br />

Fine copy of the very rare large paper issue of a noted 18th century work on costumes of the world, including<br />

important Captain Cook related images of Pacific natives and early western images of Chinese costume.


Issued in three parts between 1783 and 1791, copies of this work are rarely found complete, as here. The work<br />

was issued by the Italian publisher and engraver in two formats: a regular edition (measuring approximately<br />

12 x 9 inches), and large-paper (as here) with the plates comprised of proofs before numbering.<br />

The first two parts, containing 126 and 127 plates respectively, are devoted to European costume, including<br />

Turkey. Many of the images of Turkish and Greek costume in these sections are after British painter Francis<br />

Smith, who accompanied Lord Baltimore in his 1763-1764 tour of the East. The third volume, containing<br />

107 plates, includes images of Asia (including Russia, China, India, Persia, Egypt, Morocco, etc), Africa,<br />

North and South America (including Native Americans of Florida) and the Pacific. The latter includes many<br />

images after William Hodges’s portraits from Cook’s third voyage, including a portrait of Omai. Also of<br />

Cook-related note is a full-length portrait of Captain Cook after Gio. Chisor which appears in the first part.<br />

The work is not noted in the usual Cook and Hawaii-related bibliographies.<br />

Brunet V, 1212; Colas 3007; Lipperheide 39; Vinet 2106; Hiler, p. 879.<br />

(#26933)<br />

$ 57,500


73<br />

WARE, Isaac (ca. 1717-1766).<br />

The Plans, Elevations and Sections; Chimney-Pieces, and Ceilings of Houghton in Norfolk.<br />

London: Published by I. Ware, sold by P. Fourdrinier, 1735.<br />

Engraved throughout, title, dedication and 28 plates by Ware and Fourdrinier , 9 double-page. First Edition.<br />

[Bound with:]<br />

Thomas SMITH, of Derby (d. 1767). Eight of the most extraordinary Prospects in the Mountainous Parts of<br />

Derbyshire and Staffordshire commonly called the Peak and the Moorlands. [No place of publication: plates<br />

dated March-August 1743]. Titled beneath the image of the first plate. 8 etched or engraved double-page<br />

plates by Benoist, Vivares, Scotin and others after Smith (subjects include: Dovedale (2), River Manyfold at<br />

Wetton, Matlock Bath (2), River Wye (2), Castleton).<br />

[And:]<br />

A collection of 10 other topographical views (6 double-page after Smith: one of Haddon Hall, one of Chatsworth<br />

and 4 of views on the rivers Trent and Derwent; 2 after W. Oram of Catterick Bridge on the River Swale and<br />

Knaresborough on the Nidd; 2 double-page of the Giant’s Causeway after Drury).<br />

Folio (21 x 15 ½ inches), mounted on guards throughout. Contemporary mottled calf gilt, covers with wide<br />

decorative border of fillets and roll-tools with various motifs including birds and bees, spine in seven sections,<br />

red morocco lettering-piece in one, the others tooled in gilt (joints weak, spine chipped at head and foot).<br />

The views by Smith are particularly interesting and form a good representative selection of his work; he<br />

was self-taught but achieved a high reputation during his lifetime and was ‘one of the earliest delineators<br />

of the beauties of English scenery’ (DNB). The first work is on Houghton Hall in Norfolk which was built<br />

for Sir Robert Walpole from Ripley’s designs, the interior detailing shown in the present work was designed<br />

by William Kent: the designs for the plaster ceilings were carried out by Italian craftsmen, with gilded<br />

and painted ornament; the walls are dressed with classical plinth, pilasters, and frieze; and pedimented<br />

chimneypieces contain bas-relief panels above the mantelpiece. As a whole the present collection is in fine<br />

condition with wide margins and clearly bound at the time of publication.<br />

First work: Harris 911.<br />

(#2826)<br />

$ 15,000


74<br />

WOOD, Robert (1717-1771).<br />

The Ruins of Palmyra, Otherwise Tedmor in<br />

the Desart.<br />

London: 1753. Folio (22 x 14 1/2 inches).<br />

3 full-page engraved illustrations of<br />

inscriptions, 57 engraved plates (including<br />

one folding panorama, folds linen-backed<br />

as issued), by P. Fourdrinier, Thomas<br />

Major and others after drawings by Borra.<br />

Contemporary diced russia, covers with a gilt<br />

roll tool border, skilfully rebacked to style,<br />

spine in eight compartments with raised<br />

bands, lettered in the second compartment<br />

the others with an overall repeat decoration<br />

in gilt, marbled endpapers.<br />

Lovely large-paper copy of the first edition of an<br />

important source book for contemporary Greek revival<br />

architectural designers.<br />

Wood travelled widely in Greece and the Near East.<br />

In 1750, Wood accompanied James Dawkins, one of<br />

the sponsors of the Stuart and Revett expedition, to<br />

Palmyra and was joined by an Italian artist named<br />

Borra. “The Ruins of Palmyra was important because<br />

for the ruined city of imagination it substituted fiftyseven<br />

plates accompanied by detailed descriptions<br />

and measurements of the ruins and antiquities”<br />

(Webb, English Romantic Hellenism, p. 108-109).<br />

Furthermore, the publication of the work ushered in a<br />

number of significant studies of the architecture of the<br />

region, including those by Le Roy, Adams Cameron<br />

and Chandler, Pars and Revett. Notably, the ceiling<br />

of the drawing room of Osterly Park House designed<br />

by Robert Adams was inspired by the present work.<br />

The publication of this work received widespread<br />

acclaim throughout Europe. “Here was the first of<br />

a new breed of archaeological works presenting<br />

the results of on-the-spot investigations of ancient<br />

monuments, with ostensibly accurate measured<br />

drawings of the ruins, precise descriptions of the state<br />

in which they were discovered, and exact copies of<br />

what inscriptions there were” (Harris).<br />

Cicognara 2722; BAL RIBA 3707; Berlin <strong>Catalogue</strong> 1884;<br />

Blackmer 1834 (French edition); Harris 939; Fowler 443; not<br />

in Atabey.<br />

(#26934)<br />

$ 12,000


75<br />

YARRELL, William (1784-1856).<br />

A History of British Fishes ... illustrated by nearly 400 woodcuts ... [Bound with:] Supplement to the<br />

History of British Fishes ... in two parts.<br />

London: Van Voorst, [1835-]1836-1839. 2 volumes, 8vo (9 1/2 x 6 inches). Half-titles. Numerous<br />

illustrations. Contemporary full brown morocco by J. Mackenzie & Son, covers elaborately bordered<br />

in gilt and with a large central design composed of small tools in gilt, spine in six compartments with<br />

raised bands, lettered in the second and third, the others with a repeat decoration in gilt, marbled<br />

endpapers, gilt edges. Provenance: John Murray (circular booklabel).<br />

First edition with the supplement in a beautiful contemporary binding by Mackenzie.<br />

Nissen, Schöne Fischbücher 133.<br />

(#26827)<br />

$ 1,200

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