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Hardcover. Etat : Very Good. 1st Edition. "3 volumes, imperial folio (27 1/4 x 21 in.; 69.2 x 53.3 cm). 3 lithographed title-pages and 3 letterpress contents leaves, 150 lithographed plates by J. T. Bowen after John James and James Woodhouse Audubon, backgrounds after Victor Gifford Audubon, handcolored and heightened with gum arabic; title-pages creased, short tear at bottom of vol. 1 title repaired, vol. 2 contents leaf creased, upper margin of pl. 51 (Canada Otter) creased, lower right corner of pl. 104 (Collies Squirrel) and left margin of pl. 148 (Tawny Weasel) chipped, minor spotting in top margin of pl. 111 (Musk Ox), pl. 129 (Northern Meadow Mouse) misnumbered 124. A FINE, FRESH AND BRILLIANTLY COLORED COPY. [Together with]: 3 text volumes, 8vo (11 x 7 1/2 in.; 28 x 19.1 cm). New York: J. J. Audubon, 1851; V.G. Audubon, 1851-54. 5 supplemental handcolored lithographed plates by J.T. Bowen in vol. 3, half-titles in vols. 1 and 3 only; lacks subscriber's list, quires 39-42 in vol. 2 misnumbered "VOL. III - 19; 40; 41; and 42." Uniformly bound in contemporary half brown morocco gilt: folios over brick red cloth with yellow-coated endpapers and text volumes over marbled boards with marbled endpapers; endpapers creased in folio volumes. FIRST EDITION OF THE ONE OF THE GREATEST COLORPLATE BOOKS PRODUCED ENTIRELY IN AMERICA IN THE NINETEENTH CENTURY. After an unsuccessful attempt to secure federal funding for his "Great Western Journey," Audubon determined that the commercial potential of the Quadrupeds was sufficient to risk funding the expedition himself. "To render [the Quadrupeds] more complete, I will leave the comforts of my home and beloved family, bound to the Rocky Mountains I cannot tell how long I may be absent, but look to return loaded up knowledge, new and abundant specimens on the shot and not from stuffed museums' moth-eaten remains. I am told that I am too old to undertake such a long and arduous journey, but having the will, I will no doubt safely bear or even surmount the difficulties" (letter to C. Bonaparte, February, 1843, quoted by Rhodes). To his collaborator the Rev. James Bachman, he exclaimed "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed!" (Streshinsky, Audubon: Life and Art in the American Wilderness, p. 332). It was to be J.J. Audubon's last major endeavor. Returning home in late fall of 1843 aged 58 and in declining health, he delegated many of the smaller mammals to his son John Woodhouse to draw and the backgrounds to his youngest, Victor Gifford, who also supervised the printing and publication. Despite Audubon's optimistic timeline for the completed work, it took the family five years to publish 150 plates in thirty parts. The first proofs were ready in 1842, but Audubon was Audubon's lithographer J.T. Bowen was immersed in the production of the octavo set of The Birds of America. The last part of the octavo Birds appeared in May, 1844, and publication of the folio Quadrupeds began immediately, with the first number being issued in January, 1845 and the first volume completed within the year. The accompanying octavo text volumes, written and edited by Rev. John Bachman, first appeared between 1846 and 1854. "The massive project was a commercial success, thanks to the close management of Victor" (Reese), attracting a total number of 300 subscribers. REFERENCES: Bennett p. 5; McGill/Wood 208; Nissen ZBI 162; Reese 36; Sabin 2367 PROVENANCE: Folio Volumes: "W Coll 9119 [-9121]" (shelfmarks on endpapers) and "XBCA AU2" (shelfmarks at foot of spines). L64V5E".

Hardback. Etat : Good+. First Edition. 21 vols bound in 20 (9 volumes quarto text, 1 volume elephant folio text [bound with Antiquities vol I], 11 elephant folio plate volumes), the complete set of 894 plates of which 40 are wholly or partly printed in colours and or hand-coloured, and 2 printed in bistre, many double-page, and or, folding, plate DD in Etat Moderne II with fore-margin sometime renewed, scattered light foxing, contemporary calf gilt with marbled paper panels to covers (moiré cloth panels to natural history vols.), text volumes rebacked to style, spine gilt lettered and ruled, 1809-1830. ANTIQUITIES - 5 vols: (I) Engraved frontispiece, map, 99 plates numbered 1-97 (plates 79 and 87 each in two states) + 1 unnumbered plate; Bound with folio text; (II). 92 plates numbered 1-92; (III). 69 plates numbered 1-69 ; (IV). 72 plates numbered 1-72 + 2 plates lettered e & f ; (V). 89 plates numbered 1-89. ETAT MODERNE - 2 vols. (I). Engraved map, 83 plates numbered 1-83; (II). 22plates numbered 84-105 + 31 plates numbered I-XXXI + 11 plates lettered A-K + 9 plates lettered AA-II + 4 plates lettered KK-NN + 9 plates lettered a-i + 1 plate lettered k (JJ and j not used). HISTOIRE NATURELLE - 2 vols bound in 3: (I). 62 plates; (II). 105 plates; (II bis). 77 plates. Amongst the artists who contributed to this section are Barraband, Bessa, Redoute, and Turpin. CARTES GEORAPHIQUE ET TOPOGRAPHIQUE - engraved title & 52 engraved plates. Provenance: Bookplate of Algernon Percy, 4th Duke of Northumberland (1792-1865). Volumes with either the Garter Crest or Ducal bookplate. Percy, the second son of Hugh, the second Duke, was a distinguished naval officer and a man of science and learning, who rose to the rank of Admiral, and was First Lord of the Admiralty in 1852. Percy became Duke of Northumberland in 1847, and a Knight of the Garter in 1852. FIRST EDITION OF ONE OF THE MOST AMBITIOUS SCIENTIFIC, HISTORICAL, ARTISTIC AND PUBLISHING PROJECTS - A COMPLETE SET WITH FINE ENGLISH PROVENANCE. THE FIRST COMPREHENSIVE DESCRIPTION OF ANCIENTAND MODERN EGYPT, THE OUTSTANDING ACHIEVEMENT OF THE SAVANTS WHO ACCOMPANIED NAPOLEON'S EXPEDITION TO EGYPT (1798-1801). THE WORK IS THE GREATEST OF A NUMBER OF OUTSTANDING SCIENTIFIC PUBLICATIONS BY THE FRENCH GOVERNMENT DETAILING THE RESULTSOF EXPLORATION, UNEQUALLEDBY ANY OTHER NATION DURING THE SAME PERIOD. The only flaw in Napoleon s preparations for the invasion of Egypt was a miscalculation when it came to Turkey s reaction to France s unsolicited help in dealing with its mostly unruly vassals, the Mamluks of Egypt. Had it not been for this, Napoleon s plan for following up military conquest by revolutionising the economy and institutions of Egypt might well have created a modern European-style state, controlled by France, at the axis of all the trade routes between Europe, India and the East. Plans to this end involved nearly 500 civilians, the cream of whom were about 150 men drawn from the Institut de France. Once in Egypt their first task was to make a thorough survey of every aspect of the country to assist the planning of its future shape, and this was extended to include Antiquities. The work was co-ordinated by L Institut de l Egypte (later replaced by the Commission des Sciences et Arts d'Egypte), founded in the appropriated house of Hassan Kachef (illustrated in the plates to the Etat Moderne), with Gaspar Monge as president.As early as October 1798 Fourier was entrusted with the task of uniting the reports of the various disciplines with a view to publication. Following the capitulation of the army to Egypt under General Menou (a convert to Islam), the savants returned to France where a commission was set up for the editing and supervision of the work. The first volumes were published by Napoleon s government, and it is a measure of how important this work was considered to be that publication continued following the Bourbon restoration. . never before or since has a study of such scope and thoroughness been accomplished.

Oblong 4to (287 x 228 mm). 1 page, meticulously notated in 38 bars on five systems of two staves. Annotated in a 19th-century hand "copié par Chopin", loosely matted. Stored in a custom-made red morocco portfolio with cut signatures of Arthur Rubinstein (1931) and Vladimir Horowitz (1978), famed as interpreters of Chopin's music. Two short piano works inspired by Polish folk music. Kobylanska considers that whilst both works are signed by Chopin, they are too unsophisticated to be his own compositions, and are perhaps transcriptions of Polish folk tunes: "Beide Stücke sind zwar mit Ch signiert, in ihrer ganzen Art jedoch zu primitiv, als daß man sie für eigene Kompositionen Chopins halten könnte. Wir ordnen sie in dieses Kapitel ein, da es sich vielleicht um Übertragungen von polnischen Volksweisen handeln mag." If so, it is fascinating not only to see Chopin in the posture of an ethnomusicologist some sixty or more years before the pioneering research of Bartók and Kodály, but also that the resulting works, notated with his characteristic exquisite neatness, should be granted the imprimatur of his discreet, repeated signature. - Provenance: 1) collection of the actor, director and playwright Sacha Guitry (1885-1957); his sale, Drouot, Paris, 21 November 1974 (lot 15); 2) collection of the Canadian chemist and physician Frederick Lewis Maitland Pattison (1923-2010), with his bookplate on the portfolio's inside front cover. - Krystyna Kobylanska, Frédéric Chopin: Thematisch-bibliographisches Werkverzeichnis (1979), VII b (Transkriptionen von Volksweisen), nos. 7 and 8. First published in Jean-Jacques Eigeldinger, "Un autographe musical inédit de Chopin", Schweizerische Musikzeitung / Revue musicale suisse, CXV/1 (Jan.-Feb. 1975), pp. 18-23. F. L. M. Pattison, "A Folk Tune Associated with Chopin and Liszt", Journal of the American Liszt Society 20 (1986), pp. 38-41. J. M. Chominski & T. D. Turlo, Katalog dziel Fryderyka Chopina (1990), p. 240 (Sketches, fragments, exercises): "Folk melodies meticulously recorded on a single sheet".

Hardcover. Etat : Fine. This historically significant manuscript is the 'First Zoological Inventory of Polynesia.' The work based on the research of Charles-Gaëtan Noury is entitled Frà gate la Sirene, commendà e par Mr. Noury Capitaine de Frà gate. Histoire naturelle. Voyage dans l'Oceanie, annà es 1847, 1848 & 1849. Iles de la Socià tà , Tahiti & Marquises, Nouka hiva and was unknown until 2017. The work was completed in France after 1850.The manuscript is in 6 volumes, one volume of text and five volumes with 458 illustrations (including 444 watercolors, 10 pen drawings, and 4 pencil drawings). Each illustration is mounted on card and often has French handwritten descriptors with local names. The five volumes with illustrations are bound in green half morocco with gold details and monogram of C.N. to the front boards. The text volume is bound in half-cloth. Also included in the lot is the manuscript published on behalf of the Belgian Academy of Sciences by Michel Jangou after the discovery of this one of a kind work of Noury's. Jangou's publication is entitled Voyage en Polynà sie (1847-1850): Le bestiaire oublià du capitaine Noury and was published in Brüssel in 2017 (available on Amazon as well).All of the illustrations and text were based on the scientific findings of Charles-Gaëtan Noury. It encompassed the entire animal kingdom of Polynesia creating the 'First Zoological Inventory of Polynesia.' Michel Jangou commented in his publication of the manuscript that "Noury produced a pioneering work, the first zoological inventory of Polynesia! He compiled it discreetly, with the invaluable help of a talented painter who remains anonymous. Since then, Noury 's manuscript and the watercolors which illustrate it have remained ignored by everything: it took more than a century and a half for the captain's work, still intact, to find the light and finally be revealed to us." (p. 39)Noury divided the animals into individual classes. The artist depicted the animals with brilliant colors and a mastery of detail. The manuscript depicted several previously unknown species. Watercolor number 183 features a detailed autographed commentary from Noury himself. Noury's text was mainly dedicated to his zoological findings with a smaller section on plants. The individual classes and sections are introduced by a summary table, which follows Milne Edwards zoological classification system of mammals, birds, reptiles, fish, ringed animals, insects, myriapods, arachnids, crustaceans, molluscs, and zoophytes. His descriptions were often enriched with island anecdotes.Charles-Gaëtan Noury (1809-1869) was a French naval officer and naturalist. He boarded the Sirà ne in Brest, France in 1846 as the deputy to Commander Lavaud. Lavaud had been appointed governor of the French settlements in Oceania. While Lavaud served as governor, Noury had command of the Sirà ne and stationed in Papeete (Tahiti). He dedicated himself to scientific research there and with the help of painters produced this remarkable astonishing manuscript.Noury had one work published in Nantes in 1861 entitled Album Polynà sien de M. C. Noury, Capitaine de Vaisseau which showed images of tattoos and artifacts of South Sea curiosities. This work with 15 plates is currently on the market at 25,000 EUR.This one of a kind manuscript from Noury offered here remained undiscovered for over 160 years. It features 458 illustrations and hand-written scientific text that make it a truly astonishing work for any collection.Additional photos available upon request. --- The work is in very good to excellent condition overall. The bindings are slightly rubbed. There can be some faint foxing to title or illustrations. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mounting Card Size ~ 16 3/8" by 11 3/8" Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mo. Signed by Author.

First edition. 21 vols bound in 20 (9 volumes quarto text, 1 volume elephant folio text [bound with Antiquities vol. I], 11 elephant folio plate volumes), the complete set of 894 plates of which 40 are wholly or partly printed in colours and or hand-coloured, and 2 printed in bistre, many double-page, and or folding, plate DD in Etat moderne II with fore-margin sometime renewed, scattered light foxing, contemporary calf gilt with marbled paper panels to covers (moiré cloth panels to natural history vols.), text volumes rebacked to style, spine gilt lettered and ruled. Antiquities, 5 vols: (I) Engraved frontispiece, map, 99 plates numbered 1-97 (plates 79 and 87 each in two states) + 1 unnumbered plate; Bound with folio text; (II). 92 plates numbered 1-92; (III). 69 plates numbered 1-69 ; (IV). 72 plates numbered 1-72 + 2 plates lettered e & f ; (V). 89 plates numbered 1-89. Etat Moderne, 2 vols. (I). Engraved map, 83 plates numbered 1-83; (II). 22 plates numbered 84-105 + 31 plates numbered I-XXXI + 11 plates lettered A-K + 9 plates lettered AA-II + 4 plates lettered KK-NN + 9 plates lettered a-i + 1 plate lettered k (JJ and j not used). Histoire Naturelle, 2 vols bound in 3: (I). 62 plates; (II). 105 plates; (II bis). 77 plates. Amongst the artists who contributed to this section are Barraband, Bessa, Redoute, and Turpin. Cartes Georaphique et topographique, engraved title & 52 engraved plates. First edition of one of the most ambitious scientific, historical, artistic and publishing projects - a complete set with fine English provenance. The first comprehensive description of ancient and modern Egypt, the outstanding achievement of the savants who accompanied Napoleon's expedition to Egypt (1798-1801). The work is the greatest of a number of outstanding scientific publications by the French government detailing the results of exploration, unequalled by any other nation during the same period. The only flaw in Napoleon's preparations for the invasion of Egypt was a miscalculation when it came to Turkey's reaction to France's unsolicited 'help' in dealing with its mostly unruly vassals, the Mamluks of Egypt. Had it not been for this, Napoleon's plan for following up military conquest by revolutionising the economy and institutions of Egypt might well have created a modern European-style state, controlled by France, at the axis of all the trade routes between Europe, India and the East. Plans to this end involved nearly 500 civilians, the cream of whom were about 150 men drawn from the Institut de France. Once in Egypt their first task was to make a thorough survey of every aspect of the country to assist the planning of its future shape, and this was extended to include Antiquities. The work was co-ordinated by L'Institut de l'Egypte (later replaced by the Commission des Sciences et Arts d'Egypte), founded in the appropriated house of Hassan Kachef (illustrated in the plates to the Etat Moderne), with Gaspar Monge as president. As early as October 1798 Fourier was entrusted with the task of uniting the reports of the various disciplines with a view to publication. Following the capitulation of the army to Egypt under General Menou (a convert to Islam), the savants returned to France where a commission was set up for the editing and supervision of the work. The first volumes were published by Napoleon's government, and it is a measure of how important this work was considered to be that publication continued following the Bourbon restoration. '. never before or since has a study of such scope and thoroughness been accomplished on the basis of field work carried out in so short a space of time and under such inadequate and harrowing circumstances' (J.C. Herold, Bonaparte in Egypt, 1963). Antiquities describes not only the ruins, but also the objects excavated, including the Rosetta Stone, here described for the first time. The quality of the plates was much enhanced by the use of an engraving machine invented by Conte, which is itself illustrated among the plates. Etat Moderne describes the architecture of Egypt subsequent to the Arab invasion in the seventh century, particularly Cairo, as well as sections on Art et Métiers, Costumes et Portraits, Vases, Meubles et Instruments, and Inscriptions, Monnaies et Médailles. Algernon Percy, 4th Duke of Northumberland was the second son of Hugh, the second Duke, a distinguished naval officer and a man of science and learning, he rose to the rank of Admiral, and was First Lord of the Admiralty in 1852. He became Duke of Northumberland in 1847, and a Knight of the Garter in 1852. Atabey, 343; Blackmer, 476; Brunet II, 616-617; Nebenzahl, Maps of the Holy Land, 60; Nissen, BBI, 2234; Nissen, ZBI, 4608; Wilbour pp178-185.

5 volumes, folio (21 1/4 x 14 1/2 in.; 54 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, tissue guards between plates and text leaves, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; minor marginal spotting (generally near fore-edge) to approximately 35 plates, 5 instances of very faint pigment offsetting to text, 3 plates toned, 5 plates in vol. 2 without tissue guards but retaining their brightness, Wood Pigeon plate in vol. 4 lightly creased in top and lower margins, long but expertly closed tear along lower margin of Woodcock plate in vol. 4 not significantly affecting image. Nineteenth-century half green morocco over green cloth, spine in 7 compartments richly gilt with raised bands (2 lettered and numbered), "Dutch Curl" marbled endpapers, edges gilt; extremities lightly rubbed, one short tar near joint of vol. 1 front cover, short indentation on front cover of vol. 2, a few light scratches elsewhere to boards. FIRST EDITION OF JOHN GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. AN EXCEPTIONALLY CLEAN AND BRIGHT COPY WITH VIVID HANDCOLORING. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Sir John Arthur Brooke (1844-1920) of Huddersfield, West Riding, Yorkshire (his Fenay Hall bookplate). His 20,000-volume library was sold at auction (Sotheby's, May-June 1921) for a total of £32,312 (approximately £1.5 million in today's money) L65BTH1A.

Large oblong folio. (16 1/8 x 20 inches). Letterpress title (verso blank), letterpress contents page (verso blank). 61 mounted albumen photographs (60 by Barnard, 1 by Mathew Brady; includes 1 unpublished photograph), each 10 x 13 inches, on individual two-tone thin card mounts, each with lithographic plate title and photographer's credit. Publisher's dark brown morocco, skilfully rebacked, covers panelled in blind, the upper cover titled in gilt. Patterned endpapers A very rare complete copy of Barnard's album, one of the two greatest photographic monuments to the Civil War and 'a landmark in the history of photography' (Keith F. Davis). The photographs are equally important as both a visual record of the war, and as photographic art of the highest order. As a contemporary reviewer wrote: 'These photographs. surpass any other photographic views which have been produced in this country - whether relating to the war or otherwise' ('Harper's Weekly', 8 December, 1866, p.771) George N. Barnard's album and Alexander Gardner's Photographic Sketchbook of the Civil War (1866) are the two main photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War's destruction. The present album, issued in an edition of between 100 and 150 copies, contains a total of sixty-one images from negatives originally taken between the winter of l864 and the summer of l866. The album starts with a single studio portrait of Sherman and seven of his generals taken by Mathew Brady in Washington in May 1865. The remaining 60 images by Barnard are of locations that figured prominently in the campaign. In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman's army from 1864 to 1865 during his famous campaign from Nashville to Chattanooga then Atlanta and so to Savannah and the sea, then by-passing Charleston, north to Columbia. In the meantime a smaller force had occupied Charleston and Fort Sumter. The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive - an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. 'Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations' (Keith F. Davis George N. Barnard Photographer of Sherman's Campaign p.63). Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. 'The publication of Alexander Gardener's Photographic Sketchbook. in early 1866 probably provided the immediate catalyst for Barnard's volume. The [enthusiastic] reception of Gardner's album reinforced Barnard's belief that such complex productions could be done profitably. In addition, the Sketchbook's exclusive focus on the war's eastern theater. left the celebrated Sherman campaign completely to Barnard' (Keith F. Davis op. cit. p.97). In March 1866 Barnard wrote to both his former boss General Orlando Poe and General Sherman outlining his plans for an album of photographs of the campaign. Both responded enthusiastically, prompting Barnard to issue a printed prospectus, dated 'New York, April 3d, 1866' (proposing an album of sixty photographs, to be limited to one hundred sets priced at one hundred dollars), and to leave for the South during the second week of April 1866, accompanied by an assistant, the experienced photographer James W. Campbell. For two months Bernard retraced Sherman's steps, photographing the important locations that he had not visited in 1864-65, and re-photographing locations where he was not sure of his existing images. On 16 June, 1866, he and Campbell departed from Savannah on the steamer Missouri bound for New York. There followed six months of intense work for Barnard before the Album was published to great critical acclaim in early November 1866. The final result, presented in a roughly geographic and chronological sequence, contains a mixture of photographs taken from the late winter of 1864 to March 1865 during Barnard's work for the army and from April to June 1866 during his return trip to the South. Numbers 2 to 8 and 38 to 44 were taken in 1864, numbers 52 to 55, 59 and 61 in 1865. Numbers 16 to 33 and 45 to 51, 57 and 58 were taken in 1866. The dates of the remainder are uncertain. Keith F. Davis writes: 'This combination [of photographs from two discrete periods] gives the album a narrative tension between the "present" of the war itself, and a retrospective memory of the conflict. Barnard blurred this distinction by sequencing his prints according to the chronology of wartime events and by not dating individual views' (op. cit. p.171). 'Photographic Views of Sherman's Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography' (Keith F. Davis op. cit. p.170). Extremely rare. The last copy selling at Christie's in 2014 for $149,000. De Renne p.1317; Howes B150, "b."; Sabin 3462; Taft Photography and the American Scene pp.232 & 486; George N. Barnard Photographic Viewsof Sherman's Campaign.

5 volumes, folio (21 x 14 1/2 in.; 53.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; most plates with light to moderate pigment offsetting to text (most prevalent in vols. 4-5), occasional faint text offsetting and marginal spotting to plates, caption on Snowy Owl plate in vol. 1 partially cropped, caption on White Crane plate in vol. 4 a trifle shaved, Tufted Duck plate in vol. 5 a little toned. Modern half green morocco to style over green cloth, the spine in 6 compartments gilt with raised bands, grey holland endpapers, top edges gilt, with Hatchard's stamp on verso of front free endpapers; foot of spine of vol. 1 rubbed. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series, this copy having belonged to Henry Richard Cox, whose name appears in the list of subscribers in volume 1. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Henry Richard Cox (1779-1865) (armorial bookplate and named in list of subscribers); Sacchetti, (bookplate, possibly the House of Sacchetti, an Italian noble family) L65BTH2A.

A total of 36 vols.: 26 text vols. (4to) and 10 atlas vols. (elephant folio). With coloured frontispiece and 899 engraved plates and maps, many double-page-sized and folded. Slightly later English half calf, professionally repaired in places. Second edition of this monumental work (the first was published from 1809 onwards), the first comprehensive description of ancient and modern Egypt. Commissioned by Napoleon during his Egyptian campaign between 1798 and 1801, this encompassing historical, archaeological, art-historical, and natural-historical account of the country was realised through the efforts of the Institut d'Egypte in Cairo. Its influence was enormous, establishing Egyptology as an intellectual discipline and nurturing a passion for Egyptian art throughout the Western world. Edited by some of the leading intellectual figures in France, the Description also includes contributions from celebrated artists such as Jacques Barraband, Pierre-Joseph Redouté, Geoffrey Saint-Hilaire, Jules-César Savigny and others. More than 150 scholars and scientists and some 2000 artists, designers and engravers were involved in its preparation. The success of the publication was such that work on the second edition (known as the "Pancoucke edition") began before the first was completed. The text was expanded into a greater number of volumes, now printed in a smaller format; new pulls were taken from the plates, and these were bound with many of the large-format plates folded into the new, reduced dimensions. - A splendid, clean copy, complete with all the plates. An incomplete copy of the second edition of the Description de l'Egypte sold at Sotheby's for £68,750 in 2016. - Blackmer 526. Gay 1999. Brunet II, 617. Graesse II, 366. Cf. Monglond VIII, 268-343 (for the first edition). Nissen, BBI 2234. Nissen, ZBI 4608. Heritage Library, Islamic Treasures, s. v. "Art" (illustration).

5 volumes, folio (21 x 14 1/2 in.; 53.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; approximately a third of the plates with light to moderate pigment offsetting to text most prevalent in vol. 5, occasional faint text offsetting to plates, minor marginal spotting to a few plates and text leaves, light toning to 3 plates, short internal tear in bottom text margin (vol. 5, plate 91 - Ivory Gull). Nineteenth-century full green morocco elaborately panelled gilt with foliate rolls and one large roll with alternating birds in flight and cornucopia, the spine in 6 compartments richly gilt (2 lettered and numbered), gilt dentelles, Bouquet combed marbled endpapers, edges gilt; extremities rubbed, a few scratches and scuffs to boards, vol. 2 binding a bit shaken. RAILROAD MAGNATE JAY GOULD'S COPY, FIRST EDITION OF JOHN GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Jay Gould, 1836-1892, (his bookplate depicting "Lyndhurst," his Gothic Revival mansion on the Hudson, and his shelf ticket); his daughter, the philanthropist Helen Gould Shepard, 1868-1938 (her bookplate) L65BTH1B.

Softcover. Etat : Near Fine. First edition. Octavo. 53pp. Publisher's coated pictorial wrappers printed in blue-green ink. Portrait of Edison and numerous photographic plates and illustrations throughout. A few spots and creases and with some professional restoration at the spine and upper foredge of the front wrappers, else near fine. Housed in custom red quarter morocco clamshell case. A remarkable copy of the first book on the motion picture. This copy belonged to A.R. Allen of Famous Productions Inc. in Universal City, California, and is accompanied by a typed letter signed to Allen from Iris Barry, curator of the Museum of Modern Art Film Library, dated Dec. 4, 1939, who states: ".I do not think there can be much doubt that the Dickson 'History of the Kinetoscope' is the first book on the motion picture . ." This book details the invention and early experimentation of the kinetoscope with numerous images and closes with this bold but accurate prediction: "What is the future of the kinetograph? Ask rather, from what conceivable phase of the future it can be debarred. In the promotion of business interests, in the advancement of science, in the relation of unguessed worlds, in its educational and re-creative powers, and in its ability to immortalize our fleeting but beloved associations, the kinetograph stands foremost among the creations of modern inventive genius" (p. 52). William Kennedy Dickson's invention, the Kinetoscope, was simple: a strip of several images was passed in front of an illuminated lens and behind a spinning wheel. In fact, Edison saw very little value in the contraption, but thought that it might be served to enhance his phonograph. On January 7, 1894, Dickson received a patent for motion picture film. Shortly afterwards, after a great deal of debate with Edison and West Orange film colleague Jonathan Campbell, Dickson switched from the 19mm width, single sprocket film he was using, to the more stable 35mm double-sided sprocket film. Edison didn't see the need or benefit for redesigning the equipment to accept the larger negative, but Dickson and Campbell believed it was essential if the technology was to advance. Today's standard is still 35mm double-sided sprocket film. Dickinson's importance to early film-making cannot be overstated. He is credited with producing the first film shot in the United States (*Monkeyshines*, 1890), the first public demonstrations in the United States (*Dickson's Greeting*, 1891), the earliest known film containing actors (*The Blacksmith Scene*, 1893), and by default the first film director and studio head after the creation, by Edison in 1893, of the world's first film studio, Black Mariah (a nickname coined by Dickson). While numerous copies of a 1970 facsimile of the first edition can be found at institutions, the true first edition is exceedingly difficult to find with *OCLC* locating about 10 copies. A rare surviving copy of this landmark first book on motion picture by a true pioneer, too long overshadowed by more famous film "innovators" such as Edison.

Portfolio. 42 watercolors hinged onto 22 period card mounts, 7 signed by Preziosi, 1 signed by Beaumont, ranging in size from 4 1/4 x 5 1/2 inches to 13 x 20 1/2 inches, all with contemporary ink manuscript caption titles on the mount, some additionally captioned by the artists. Housed in burgundy cloth chemise within a period burgundy morocco box made to resemble a paneled binding with gilt edges, signed by A[lphonse] Giroux (1776-1848), a pupil of Jacques-Louis David who manufactured the first daguerreotype camera, at Rue du Coq S. Honore, No. 7, Paris, with original white silk lining in moiré pattern and white ribbon, clasped together with gold lock on fore-edge complete with key Provenance: Prince Roger de Bauffremont. A captivating collection of watercolors of Turkish and Egyptian scenes, accomplished by two notable nineteenth-century Orientalist artists, documenting a journey through the region by the French Prince Roger de Bauffremont that was intended to be published as a travel book. Some of these forty-two watercolors of Beaumont and Preziosi depict views of the Bosphorus, Therapia, and other sites in and around Constantinople. The remainder depict scenes and costumes of Egypt. Each an aristocrat, though Beaumont was French and Preziosi Maltese, they were both known as illustrators of travel books in the mid-nineteenth century. Preziosi's books were lavish chromolithographic affairs, as the present portfolio was likely intended to be. Preziosi had published Costumes of Constantinople (1844) the previous year, and would go on to issue Stamboul (1858) and Souvenir du Caire (1862). The son of Count Gio Francois Preziosi of Malta, Preziosi initially studied law before turning to painting. After studying under Giuseppe Hyzler, Preziosi finished his art training at the Paris Académie des Beaux-Arts. He moved to Constantinople in 1842, fell for the city, and was able to make a living painting the places and peoples that surrounded him. It is noted in the Atabey catalogue that "Preziosi was well-known. His studio is mentioned in Murray's guidebooks for 1854 and 1871. By that time he had become an institution in the city. He produced views of the city, and genre and costume drawings." [The Ottoman World] His paintings sold well to both the affluent local and the Grand Tourist, and his reputation was such that he also served as court painter to Sultan Abdul Hamid II. Less well-known, though no less skilled, is the other artist represented in these watercolors: Adalbert de Beaumont. De Beaumont traveled extensively, and authored several acclaimed works on Orientalist design and ornamentation. The present watercolors, accomplished on behalf of a traveling French prince, were never published and constitute a valuable and exquisitely rendered documentary of the sites visited and local costumes of the period. It is, as it were, a lost work from a bygone era. Watercolor Titles: "Femmes Turques." (2) 8 x 10 ¼ "Costumes Tures et Armeniens. Constantinople Septembre 1843." (2) 11 ½ x 8 ¾ "Vues de Therapia sur le Bosphore: En face du Palais de France; Palais de France." (2) 9 x 13 ¼ "Pont de Brousse. Asie Mineure." 14 x 20 ½ "Fouak sur le Nil." 13 x 19 ¼ "Birket el Shaouareb. Le Caire." 13 ¾ 20 ¼ "Costumes Tures et Egyptiens." (4) 7 ½ x 5 ½ "Costumes de la Haute et de la Basse Egypte." (6) 5 ½ x 4 "Costumes de la Haute et de la Basse Egypte. (6) 2 are 6 x 4 ½, 2 are 7 ½ x 5 ½ 2 4 ¼ x 5 3/4 "Costumes Tures. Constantinople." (2) 10 x 7 "Costumes Grecs." (2) 10 x 7 "Souvenir de Constantinople Title Page." 9 ½ x 6 1/2 "Nubiens dans le Désert." 9 ½ x 14 ¼ "Musiciens du Maroc." 10 ¼ x 15 "Vue du Bosphore prise de la Rive l'Asie." 13 ¼ x 18 3/4 "Les Murailles de Constantinople." 13 ¾ x 20 "Un Canal a Venise." 16 x 11 ¼ "Une Porte de la Mosquee de Bajazet. Constantinople 1845." 14 x 8 ½ "Mosquee de Shazade. Constantinople 1845." 13 ¼ x 8 ¾ "Palais Persan." 8 ¾ x 6 ¾ "Therapia." 4 x 5 ½ "Untitled." (3) 6 x 4 1/2 Llewellyn, The People and Places of Constantinople: Watercolors by Amedeo Count Preziosi. Sotheby's, The Ottoman World: The Library of Sefik E. Atabey, p.535.

Folio (13 1/2 x 20 inches). 118 (of 120) hand-colored lithographed plates, 3 plates by George Catlin ("The Ballplayers," "Wi-Jun-jon," and "The Killing of the Buffalo") printed on card and mounted on heavier stock (bound without the map and plate of Billy Bowlegs, some marginal foxing on plate of Red Jacket, light text offsetting affecting about 7 plates, a few minor spots and stains, repair to short tear on index leaf, 2 tissue guards torn, 1 guard creased, the Catlin plates toned and stained). Full red morocco janséniste by Sangorski & Sutcliffe (some minor water damage to lower dentelle). Provenance: Supra libros of H.H. Baxter (Horace Henry Baxter (1818-1884)) Memorial Library, Rutland Vermont ; Herbert G. Wellington. A REMARKABLY BRIGHT AND ATTRACTIVE COPY. An interesting edition referring on the title-page to the devastating fire of January 1865 that destroyed the Indian Gallery at the Smithsonian in Washington where the original portraits painted from life or copied by Charles Bird King hung. Published after 1873 when D. Rice & Co., moved to 508 Minor Street, Philadelphia. Thomas McKenney, appointed Superintendent of Indian Affairs in Washington in 1824, began travelling west in 1826 to observe the fading cultures of the Chipewa, Winebago and other tribes. Dismissed from this post by President Jackson in 1839, McKenney conceived of collecting the portraits of notable Native Americans, begun by Charles Bird King in 1824, and pairing them with biographies written by the popular author of western topics, James Hall. Bird was commissioned by McKenney to execute portraits of visiting Indian delegates in his studio in Washington, with some famous sitters including Red Jacket and Major Ridge, as well as a portrait of Pocahontas paired with contemporary quotations attesting the accuracy of the likeness. Most of Bird's paintings were destroyed in the Smithsonian fire of 1865, and given that this work is most commonly encountered in 3 bound volumes in later states, the present parts offer the most original experience of this "MOST DISTINCTIVE AND IMPORTANT BOOKS IN AMERICANA" (Reese). From the distinguished library of Herbert G. Wellington whose fine collection of Indian art was exhibited at the Metropolitan Museum of Art in 1983. Without two volumes of text. American Antiquarian Association G460 M155 H87- F.

Three letterpress broadside prospectus "Advertisement" leaves to parts 1-3 bound at the front. Seventy-two handcolored lithographic plates after Lewis, printed by Lehman & Duval. Folio, 16 3/4 x 10 3/4 inches. Expertly bound to style in black half morocco incorporating contemporary marbled paper- covered boards, spine ruled in gilt, stamped in gilt "Aboriginal Portfolio." Contemporary marbled endpapers, original blue paper printed front wrapper to part No. 7, dated November 1835, bound in at the front, blank blue paper rear wrapper bound in at the rear. The plate titled "Kee-o-kuck" with outer margin repaired on verso. Very good. In black and tan fabric clamshell box, spine gilt. One of the rarest 19th-century American color plate books and the first major American color plate book on American Indians, here including the three very rare prospectus leaves and the original wrappers for part seven. THE ABORIGINAL PORT FOLIO represents the first attempt at a collection of portraits of North American Indians, preceding the works of Catlin, and McKenney and Hall. It is one of the earliest large projects in American color printing, and one of the first large visual works to deal with subjects beyond the east coast of the United States. James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he was living in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians during the course of each. Virtually all of the originals of the images published here were executed by Lewis in this period. Subsequently, many of the Lewis portraits were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865. THE ABORIGINAL PORT FOLIO was published in Philadelphia by lithographers George Lehman and Peter S. Duval. It was issued in ten parts, with each part containing eight plates. Given the size of the undertaking, the first nine parts were issued remarkably quickly, appearing monthly between May 1835 and January 1836. The reason for this haste is probably that Lewis was aware that the imminent appearance of the first part of McKenney and Hall's HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA would adversely affect his subscriber numbers. The evidence of the surviving copies suggests that his fears were well-founded, as there are a number of sets made up from eight parts (with sixty-four plates), but very few with nine parts (seventy-two plates, as here); and ten- part sets with the full complement of a frontispiece/title-leaf and eighty plates are virtually never found: only two copies (including the Siebert copy) are listed as having sold at auction in the past twenty- five years, and there are only about a half dozen or so other recorded sets (the Siebert set, and two others, are the only two examples to include the titlepage). A landmark volume in the history of American printing, and the depiction of Native Americans. BENNETT, p.68. EBERSTADT 131:418. FIELD 936. HOWES L315, "b." SABIN 40812. REESE, STAMPED WITH A NATIONAL CHARACTER 23.

Original, vintage hand-drawn and colored plan. Rolled. Large format, 4 sheets mounted together. Size: ca. 235 × 70 cm. Brune's plan of the Great Temple at Karnak is the most detailed and precise 19th-century architectural plan of the monument. This large, exhibition size plan of the Great Temple at Karnak was designed by Emmanuel Brune (1836-1886), a French architect, and professor at the École des Beaux-Arts. In 1863 Brune's design of a main staircase (L'Escalier principal d'un palais d'un Souverain) was awarded the Premier Grand Prix de Rome, which granted the architect a four-year scholarship and a study tour to the Levant. While in Egypt, Brune carried out archeological works and restorations at the sites of Thebes and Luxor, as part of Auguste Mariette's (the director of the Egyptian Department of Antiquities) excavation projects in Karnak. Besides such activities, for his Envoi de Rome, (a collection of artworks which a winner of the Prix de Rome sent back from the field trip each year to be exhibited in Paris) Brune designed detailed plans and drawings of the sites at Karnak and elsewhere. Plan du grand temple de Karnak, à Thèbes was among Brune's third-year collection of Envoi which was exhibited in Paris in 1867 (Auvray, De La Chavignerie, 1882; Azim, 1989; Köhler, 1878), and due to the size of the present piece, we assume that this was the one displayed at the exhibition. Brune's Plan du Grand Temple de Karnak is more detailed and accurate than it's 19th-century predecessors (particularly concerning the Courtyard of Middle Kingdom and the Akh-menu of Tuthmosis III), such as Lepère's Plan, coupe générale et élévation du palais in Description de l'Egypte (Paris, 1812), Prisse d'Avennes' Karnak: Plan Général des Ruines in Du Camp's Égypte, Nubie, Palestine et Syrie (Paris, 1852), or Félix Teynard' Karnak (Thèbes) Plan des ruines principales in Égypte et Nubie (Paris, 1858). The plan was reproduced or referred in prominent works on ancient and Egyptian art and architecture, among others in Mariette's Karnak, étude topographique et archéologique (Leipzig, 1875), Perrot and Chipiez's Histoire de l'art dans l'Antiquité, Égypte (Paris, 1882), Choisy's Histoire de l'Architecture (Paris, 1899), or Sturgis' A History of Architecture (New York, 1916). Brune's plan of the Temple of Ramesses III at Medinet Habu appeared in Maspero's Bibliothèque égyptologique (Paris, 1894). Brune also contributed to the excavations and restorations at the Deir el-Bahari area, especially the Temple of Hatshepsut (Iwaszczuk, 2017), and some sources gave more credit for these works to him than to Mariette (Naville, 1894; The Builder, 1898). Literature: Auvray, L.; De La Chavignerie, É. B.: Brune (Emmanuel). In Dictionnaire général des artistes de l'école française [.]. Vol 1. Paris: Renouard, 1882. p. 175.; Azim, M.: Karnak et sa Topographie. In Göttinger Miscellen. 113. Göttingen, 1989. pp. 33-47.; The Builder: The Architectural Societies. In: The Builder. Vol., LXXV. No. 2909. November 5, 1898. p. 409.; Iwaszczuk, J.: Sacred Landscape of Thebes during the Reign of Hatshepsut [.]. Vol. 1. Varsovie: IKSiO PAN, 2017. p. 49. Köhler, B. H.: Die Kunstschule, Ecole national des Beaux-Arts, zu Paris. In Zeitschrift für Technische Hochschulen. Jahrg. III. Nr. 5. Hannover, 1878. pp. 33-36.;.; Naville, E.: The temple of Deir el Bahari [.]. London: Egypt Exploration Fund, 1894. p. 12. . With a few nicks and closed tears at the edges. Horizontal creases. Pinholes at the corners. Traces of old restoration on the verso. Overall in very good condition. Original, vintage hand-drawn and colored plan. Rolled. Large format, 4 sheets mounted together.

7 volumes, folio (16 6/8 x 10 inches). Half-titles. Engraved title-page to volume one after Percier et Thibaud engraved by Pillement and Née. 496 fine color-printed stipple-engraved plates FINISHED BY HAND (including more than 400 after P. J. Redouté and some 30 after Pancrace Bessa), and 2 engraved plates. Contemporary half calf gilt, marbled boards, all edges uncut (expertly rebacked preserving the original spines). Provenance: Anonymous ownership inscription: "G[ift] of Mr. John S. Ames, December 1951" on the verso of the title-page of each volume. Second edition, sometimes called the "Nouveau Duhamel" or, "New Duhamel", ONE OF A SMALL NUMBER PRINTED ON LARGE PAPER, is completely revised and enlarged, and bares very little resemblance to the book published by Duhamel with the same title in two volumes in 1755. The magnificent color plates, the majority of them after Redoute, and many after Bessa are new to this edition. Pierre-Joseph Redoute (1759-1840), often called "the Raphael of flowers," was born in the Belgian Ardennes - the son, grandson, great-grandson and brother of artists. From the beginning, Redoute's talents were recognized by distinguished men and women who took pleasure in forwarding his career. For the study of botany, his teacher was Heritier de Brutelle, one of the outstanding naturalists of his day. Gerard van Spaendonck, Flower Painter to the King, taught Redoute the technique of painting in watercolor on vellum. But by the master's own account, the pupil's work was finer. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of engraving a copper plate with a dense grid of dots which can be modulated to convey delicate gradations of color. Because the ink lies on the paper in miniscule dots, it does not obscure the "light" of the white paper beneath the color. After this complicated printing process was complete, the prints were then finished by hand in watercolor, so as to conform to the models Redoute provided. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. Du Hamel (later de-nobilized to Duhamel) du Monceau was born to a farming family in Paris. By 21 he was studying at the Jardin du Roi, which later became the Jardin des Plantes, where he became friends with Bernard de Jussieu (1699 1777?), who recommended him to the Académie des Sciences. He published a number of scientific works on fruit trees and other plants: "Recherches sur les causes de la multiplication des espèces des fruit", "Anatomie de la Poire" (1730-1731), and "Traité des Arbres Fruitiers" (1768). From 1755, Duhamel began publication of the eight-volume work "Traité complet des Bois et des Fôrets" that would attempt to detail "all aspects of trees including their planting, growth, maintenance, and transportation. The first installation started with two volumes titled "Traité des Arbres et Arbustes" (1755). Other titles that were included in the comprehensive work were "La Physique des Arbres" (1758), "De l Exploitation des Bois" (1764), and finally "Du Transport" (1767). Between the years 1752 and 1777, he authored various works that appeared both in Diderot s "Encyclopédie" and the "Dictionnaire des Arts et Metiers". Bret Payne for Oak Spring Garden Library online. Brunet II, 871; Dunthorne, 243; "Great Flower Books", p.55' Nissen 549; Plesch p. 211; Pritzel 2470.

Hardcover. Etat : Very Good. 1st Edition. 5 volumes, folio (21 3/8 x 14 1/2 in.; 54.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches) and printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; vertical creases to list of plates in vols. 2-5 and to first plate (Snow Goose) in vol. 5, very faint, occasional marginal foxing to plates, neat repair to small tear along bottom margin of Rose Coloured Pastor in vol. 3, overall a VERY FRESH, BRIGHT COPY. Contemporary red morocco paneled gilt, spines in 6 compartments richly gilt (2 lettered), marbled endpapers, edges gilt; joints lightly rubbed, small tear to spine head of vol. 2, covers a bit darkened from leather treatment. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 (L64F16C-D).

Oblong folio (485 x 405 mm). Title-page and 62 engraved, hand-coloured etchings by A. Sanquirico (all on velin paper with watermark "J. Whatman, Turkey Mill"); tissue guards (watermark "FB") preserved throughout. Contemporary green boards with elaborate gilt neo-classical decoration. In same-coloured original slipcase. First edition of Sanquirico's synoptic collection of his work, complete in 62 plates, never sold in the regular book trade and presented by the artist only to the highest dignitaries. "La grandiosa collezione del Sanquirico, in fogli di grande formato, stampati e colorati con estrema cura, era evidentemente destinata a clienti 'facoltosi'" (Ferrero). In 1818 Sanquirico set out to publish all the theatre decorations he had executed. The inked and coloured series of etchings was completed in 1829. - Sanquirico is considered the best stage designer of his time. From 1817 to 1832 he was "scenografico unico" at the Milano "Scala", where he was much admired for his inexhaustible production of new creations. "He is a master of perspective, and a painter of the finest taste; capable of creating magical effects through colour and light. Every one of his decorations is possessed of a unique magic and rich versatility of invention. There was not an opera in which Sanquirico, apart from the celebrated singers, did not also celebrate his own triumph" (Nagler). "La sua attività coincise con uno dei periodi più interessante della lirica italiana, quando ai nomi ormai famosi di Mayr, Mozart e Meyerbeer si alternavano quelli di Rossini, Bellini, Donizetti e Pacini, e il balletto italiano trovava la sua nova espressione nelle pantomime eroiche" (Enc. dello Spettacolo). For this present album, Sanquirico used the best paper available, the strong velin made by the Turkey Mill on which James Audubon also printed his 'Birds of America' (cf. Bannon/Clark, Handbook of Audubon Prints, 35). The colouring is masterfully executed, showing exceptional brilliance. Hundreds of fine hues - in the tropical flora, in the precious costumes of the exotic peoples, in the luminescent pink clouds over the evening landscapes - lend these scenes a unique beauty and atmospheric splendour. - Immaculate, entirely spotless copy in the original boards as issued. Merely the matching slipcase shows traces of restoration, otherwise entirely untouched. - Removed from the library of the Dukes of Bavaria at Tegernsee castle. - Wurzbach XXVIII, 196. Nagler XVI, 135. Enc. dello Spettacolo VIII, 1483. M. V. Ferrero, La Scenografia della Scala nell'età neoclassica, Milan 1983, 91-140.

Folio (ca. 380 x 547 mm). 3 vols., including atlas. (22), CLI, (3), 279, (1) pp. (8), 339, (1) pp. Atlas has chromolithographed pictorial title, 48 engraved and 41 chromolithographed plates (numbered I-LXXXVI), 5 engraved plans, and 2 folding engraved maps. Contemporary marbled boards; modern spines with giltstamped labels. The rare first edition of this monumental work on the antiquities housed at the Hermitage Museum in St Petersburg, published at the personal expense of Emperor Nicolas I. The Tsar took a deep interest in Russian archaeological finds following the discovery of a Scythian burial mound near Kerch in 1830, and many of these discoveries are featured here. - A large number of the plates are magnificently lithographed in vivid colour after the drawings of Piccard and Solntzev. "Ouvrage imprimé avec une grande luxe. Le texte, en russe et en francais, est précédé d'une préface, signée du nom de M. Gilles, conservateur de l'Ermitage [.] Le nombre des exemplaires tirés n'est, dit-on, que de 200. Leur prix à Paris est de 400 fr." (Brunet). - The Swiss painter and engraver Piccard (1807-88) had studied in Paris and was active in Lausanne until the end of the 1830s. Long in Russia, he would return to Lausanne in 1869. Solntsev (1801-92) had already completed the massive six-volume album series "Antiquities of the Russian State" (1849-1853) and was one of the principal interior decorators of the Kremlin Palace. - Some foxing throughout, mainly concerning the margins and the first and last quires of the text volumes, but to some extent also the margins of the plates. Bindings professionally repaired. Removed from the Library of the Birmingham Assay Office, one of the four assay offices in the United Kingdom, with their inconspicuous library stamp to the flyleaves. Extremely rare: we can trace only one other copy at auction (2013, Sotheby's Paris, sale 1333, lot 532: EUR 59,100 - the duc de Luynes copy). - Brunet I, 321. Graesse I, 149f. Thieme/Becker XXVI, 579. OCLC 82476426.

I) Lucrèce Borgia. 1833. (2), XI, (1), 192 pp. - II) Le Roi s'amuse. 1832. (8), XXIII, (1), 183 pp. - III) Marie Tudor. 1833. (6), IV, 214 pp. Each with frontispiece. All three bound in a single volume in slightly later half calf with giltstamped spine and marbled covers. - A matching second volume contains: - 1) Borgia, Lucrezia (1480-1519). Letter signed. Rome, 20 Nov. 1501. ½ p. Folio. - 2) Hugo, Victor (1802-1885). Autograph ink caricature, mounted on backing paper. 10 x 13 cm. - 3) Mocquard, Jean-François (1791-1864). Autograph letter signed. Paris, 15 Jan. 1853. 1 p. 8vo. - 4) Fournier, Louis Edouard (1857-1917). Autograph drawing inscribed. 12.5 x 20.5 cm. - 5) Donizetti, Gaetano (1797-1848). Autograph musical manuscript (fragment). 6 pp., ca. 33 x 12 cm. - 6) Hugo, Victor (1802-1885). Two autograph instructions signed. 26 Dec. 1839 and 20 Feb. (no year). Oblong 8vo. 2 pp. - Both volumes stored together in a matching calf-entry marbled slipcase. A charming ensemble of three first editions of Victor Hugo's plays, each one inscribed by the author to his elder brother, the essayist and military writer Abel Hugo (1798-1855). When the set was auctioned at the sale of the library of the author's grandson Georges-Victor Hugo, it was acquired by Arthur Meyer, the director of the prestigious daily "Le Gaulois" and a passionate collector who was wont to enrich, or "truffle", his books with appropriate rare autographs and drawings. In this case, the addenda, bound in a matching half-calf volume, greatly surpass in value the works they accompany: 1) A precious letter by the Renaissance noblewoman Lucrezia Borgia, famous for her marriages and her affair with Pietro Bembo (signed "Lucretia Esteri de Borgia"), written in recommendation of Hector Beringero to the poet Antonio Tebaldeo (1463-1537), secretary to Francesco II Gonzaga, Marquess of Mantua (later Lucrezia's lover). Meyer had acquired this outstanding document from the collection of Alfred Morrison (cf. Catalogue of the Collection of Autograph Letters and Historical Documents Formed Between 1865 and 1882 by Alfred Morrison, 1883, p. 100). - 2) Almost equally striking is the original, highly expressive pen-and-ink drawing by Victor Hugo, showing the dark shape of a portly figure holding a candle (an illustration of Act III, Scene 1 of his 1843 play "Les Burgraves"), captioned by the artist in his own hand: "Mm. Mélingue criant: Caïn! de la Coulisse". In the original production, the actress Rosaline Mélingue had played the role of Guanhumara, providing the off-stage voice for the eerie scene. - 3) Also included is a letter by J.-F. Mocquard, chief-of-staff to Napoleon III, addressed to Auguste Romieu, the directeur des beaux-arts, concerning matters of theatrical censorship (including Hugo's play "Lucrèce Borgia"). 4) The associations are reinforced in an expressive charcoal drawing showing Victor Hugo reading to his brother Abel the first act of "Lucrèce Borgia", inscribed in pencil to the collector by the artist L. E. Fournier: "A M. Arthur Meyer très cordialement". 5) Finally, Meyer was able to include a fragment of Gaetano Donizetti's original manuscript of his 1833 opera "Lucrezia Borgia", which he had based on Hugo's play. 6) At the very end are two brief notes by Victor Hugo in which the author instructs his publisher Renduel to issue to the bearer copies of his works, including "Lucrèce Borgia". - Provenance: bookplates of Arthur Meyer and Jean Inglessi, as well as an additional monogrammed bookplate. Last in the collection of Pierre Bergé (1930-2017).

Early printing of Twain's masterpiece, inscribed by Mark Twain. Octavo, bound in half buckram by Roycroft with paper labels to the spine, tissue-guarded frontispiece photogravure plate of Gerhardt's bust of Clemens, one hundred and seventy-four illustrations by E. W. Kemble. Presentation copy, inscribed by the author on the title page, "To Mr. Garth W. Cate: TakingÂtheÂpledge will not make bad liquor good, but it will improve it. Truly Yours, Mark Twain, Nov. 25/06." With a lengthy letter of provenance dated October 14, 1964 and signed by the recipient which reads in part, "Dear Mr. Jacobs, If I had been younger and could have carried out a study of some of Mark Twain's motives and acts, I never would have parted with my cherished old copy of the first printing of Huckleberry Finn. This was the first book given to me by my father. In 1906-1907 I was a lecture manager for Elbert Hubbard, the Sage of East Aurora, whose quasi-socialist group The Roycrofters was quite famous as an arts and crafts enter at East Aurora, New York. By that time the HUCK FINN was loose in its covers. Elbert Hubbard saw the book on my desk when I brought it in to have it rebound in the Roycroft Bindery. Said he, "No author could resist seeing such a well worn volume testifying to the delight it had given many readers. Why don't you send it down to Mark Twain and ask him to inscribed it. I'll sign and send Mark a few of my own books along with it, thus salting the mine for you." So I sent HUCK back to its spiritual father, and when it returned I was somewhat shocked, having been sent to a temperance Sunday School by a whiskey fearing mother, to find that he had inscribed it "To Mr. Garth W. Cate - Taking the pledge will not make bad liquor good, but will improve it." (Incidentally it was several years after that before I took my first drink. I am an abstainer today). Later on I was to marry a Christian Science practitioner, and when she saw this inscription she exclaimed: Why, that is the most immoral thing I ever saw! How could a great author send such a sentiment to a young man?" A careful search of Mark Twain's writings revealed that he had a deep-seated lifetime aversion for pledges, especially when they had been obtained under pressure from those of an older generation. It seems when Mark was a boy in his early teens, his mother and aunt talked and pressured him into signing a pledge not to touch alcohol in any from. Later he was to refer to this as "A ball and chain clanking behind him down the years of time." He hated such restrictions, especially when thrust upon him while immature." In very good condition. With the original publisherâ s decorated green cloth cover bound in and three rare portraits of Twain tipped in. With two further letters of provenance and several period Twain-related clippings adhered to several pages. Housed in a custom half morocco clamshell box. An exceptional presentation copy with noted provenance. Written over an eight-year period, Twain's Adventures of Huckleberry Finn was controversial from the outset, attacked by critics for its crudeness, coarseness and vulgarity. Upon issue of the American edition in 1885, several libraries, including the Concord and Brooklyn Public Libraries, banned it from their shelves. Twain later remarked to his editor, "Apparently, the Concord library has condemned Huck as 'trash and only suitable for the slums.' This will sell us another twenty-five thousand copies for sure!" The book nevertheless emerged as one of the defining novels of American literature, prompting Hemingway to declare: "All modern literature comes from one book by Mark Twain. It's the best book we've had. All American writing comes from that. There was nothing before. There has been nothing since.".

Medium: Oil A rare oil painting of an African slave by Austrian master Peter Fendi last sold aton November 9, 1935 by Albert Kendehouse, Vienna, Austria. The palette is similar other works and possesses the pathos qualities of other works. Other than the few watercolors by Fendi, I am not aware of any large scale oil paintings in this subject matter. It is possible that this work was inspired during or after his time in Venice. Fendi went to Venice in 1821 and studied Venetian 16th century masters. Fendi painted African slaves in a few watercolors (one included in Peter Fendi und sein Kreis, Albumtitelblatt fur Furst Metternich, 1837 Kat. 62 and another example pictured in the second to last picture). Last originated from a Philadelphia, PA estate in May, 2010. Dimensions and biography are below. Ships via UPS fully insured. Serious inquires only. Thanks for looking.Oil on Wood Board16 1/8 x 20 1/2 inches25 x 29 1/4 inches framed (later frame)Horizontal split (hand to right edge)Signed P. Fendi middle left (above bag right of vegetable)Die Negersklavin." Voll Trauer ist sie am Strande hingesunken und blickt sehns? chtig auf das weite Meer. ??l. Holz. SigniertThe Negro slave. " Full grief she sunk down on the shore and looks longingly at the open sea . Oil . Wood . Signed.Lot 0352 from Sale Catalog D-1631Artist Name: FENDI, PETER (Austrian)from catalog: Peter FendiTitle / Description"Die Negersklavin." Voll Trauer ist sie am Strande hingesunken und blickt sehns? chtig auf das weite Meer. ??l. Holz. Signiert. H. 40, B. 51 cm.Genre:GenreObject Type: Gem??ldeMaterial / Dimensions: ??l auf Holz, 40 cm x 51 cmSellerfrom catalog: Wien, I., K??rntnerring 4, I. Stock, Telephon U-46-0-48Transaction: Sch??tzpreis: 1000Ausrufpreis: 500Sale Date: 1935 Nov 08 - 1935 Nov 13 (This Lot: Nov 9)Sale Location: Vienna, AustriaAuction House:Kende (Albert)from catalog: Auktionshaus Albert KendeSale Location:K??rntnerring 4, Wien I, Vienna, AustriaSeller:from title page: [Keine]Notes:Freiwillige Versteigerung der Kunstsammlung und vornehmen, kompletten Wohnungs-Einrichtung in Wien, I., K??rntnerring 4, I. Stock Versteigerung 8., 9., 10., 11, 12. und 13. November 1935 / Auktionshaus A. Kende, Wien 1935. Interieurs Experten: Otto Fr??hlich, Albert Kende (Gem??lde) Leopold Wessely (Silber) Bernhard Kohn (Fl? gel) Artur Specht (Teppiche) Johann Illy (Pelze) Albert Kende (Kunstgewerbe, Skulptur, Graphik) Artur Reichmann (Bibliothek). Mit Sch??tzpreisen.Peter Fendi, (1796 - 1842) the great watercolorist of the Viennese Biedermeier period, was born in Vienna on September 4, 1796. He was the son of Joseph Fendi, who was a schoolmaster, and his wife Elizabeth. While still a child, he demonstrated an impressive talent for drawing and at the age of thirteen entered St. Anna's Academy of Fine Art, where he was to remain for three years. Decisive to Fendi's career development was his encounter with Joseph Barth, who was the personal eye doctor of Joseph II and an enthusiastic art collector. Through his connections to other influential contemporaries, Fendi became an artist at the Imperial Gallery of Coins and Antiquities, which belonged to the imperial art collections. The artist occupied himself mainly with printing, etching, lithography, and wood carving. His experiments in multicolored printing are considered pioneering achievements in the field of lithography. Since art appreciation was part of what it meant to be alive during the Biedermeier period, Fendi was often summoned to noble and common residences to give instruction in drawing and painting. In choosing idyllic family motifs, Fendi became the founder of Genre-painting, which became customary during Vienna's Biedermeier period. Fendi died on August 28, 1842. Today his works can be found in the Albertina Museum's collection of graphic art in Vienna, in the Austrian Gallery in the Belvedere, in Vienna's Museum of History, and in the collections of the Prince of Liechtenstein in Vaduz.On Jun-12-11 at 15:4.

Folio. (17 3/4 x 11 inches). First edition. Publisher's blue paper wrapper for No. 5, letterpress prospectus advertisements for parts 1, 2, and 3, 72 lithograph plates after Lewis hand-colored by Lehman and Duval, and a rare publisher's blue paper wrapper testimonial leaf [From the Numerous Notices of the Aboriginal Port-Folio Which Have Appeared in the Papers]. Modern red half morocco over 19th-century cloth, spine gilt in six compartments, gilt-lettered in second compartment [N. A. Indians], contemporary marbled endpapers, in a modern quarter morocco clamshell box with [Lewis - The Aboriginal Portfolio 1835-1836] in gilt on spine One of the rarest 19th-century American color plate books and the first important series of Native American portraits to be published in the United States. Lewis captures granular visual details of these indigenous leaders, but also their individual grandeur; Lewis's subjects stare back at the viewer possessedly. "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835. The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." It precedes and is rarer than George Catlin's North American Indian Portfolio, Maximilian's Reise in das Innere Nord-America, and Thomas L. McKenney and James Hall's History of the Indian Tribes (itself deriviative of Lewis, using 27 of his portraits). The Portfolio is one of the earliest extended, monumental projects in American hand-colored lithography, and one of the first thorough works to document a subject beyond the East Coast of the United States. At a time when westward expansion, European influence, and reactionary US government policies were irreversibly reshaping Native communities, Lewis embarked on a mission to commemorate and record their diversity and heritage. The plates depict eminent chiefs and notable tribal members in distinguished poses with great detail, the portraits imbued with personality, recording their mode of dress, face paint, jewelry, weapons, and other accoutrements. Below each likeness is the name of the sitter along with their rank and tribal affiliation, which include, among others, Sioux, Miami, Chippawa, Ioway, Shawnee, Pottowattomie, Winnebago, Monomonie, Ottawa, Fox, and Sac. James Otto Lewis was born in Philadelphia in 1799, and went west with a theatrical troupe at the age of sixteen. In St. Louis he began working as an engraver and miniature portraitist. There he met the painter Chester Harding (1792-1866) whose popular depiction of Daniel Boone is the only portrait for which Boone is known to have sat. Lewis engraved this portrait for Harding; only one example survives and it is the earliest known print made west of the Mississippi. Lewis then lived in Detroit, where, in 1823, the governor of Michigan Lewis Cass asked him to paint Tens-qua-ta-wa, a Shawnee prophet in an official diplomatic delegation to the city (plate 67). Cass sent this portrait to the Superintendent of Indian Affairs, and a later competitior to Lewis, Thomas L. McKenney, and suggested Lewis be given $200 and be named an official government portraitist of Indian councils in the Great Lakes region. In this position, Lewis attended many treaty councils, including those at Prairie du Chien (plate 17) and Butte des Mort (plate 49). The Aboriginal Portfolio grows out of the drawings and paintings Lewis executed at these official councils. Subsequently, Lewis's depictions found wide circulation, in part due to copies by artists such as Charles Bird King. The original watercolors for Lewis's portraits in the Portfolio were acquired by the Smithsonian, but were lost in the fire of 1865 (Junker). Lewis's work traversed the boundaries of art as such to become an irreplaceable repository of anthropological and historical significance. Beyond their aesthetic allure, his lithographs are evidence of his profound respect for the cultural mosaic woven by Native Americans. The Aboriginal Portfolio was printed in Philadelphia by the master lithographers George Lehman (1803-1870) and Peter S. Duval (1804-1886), who, along with J. Barincou (fl.1830-1840), drew Lewis's images onto stone and meticulously hand-colored his prints. It was issued in ten parts, each part containing eight plates, and sold for "$2.00 per Number." Lewis and his Portfolio received immediate praise from the U.S. Gazette, New York Mirror, Commercial Herald, Knickerbocker, Saturday Evening Post, and, of course, Governor Cass. Despite the positive reviews, subscribers were scarce. Lewis's publication struggled toward the end of its run and, while part nine was still in the press, was forced to reduce the edition, limiting distribution, and making the final two parts, in Reese's words, "famously rare." The imminent publication of McKenney and Hall's competing project did not help. The tenth issue is so rare that Reese argues its publication did not actually happen until 1838, and Lewis's projected eleventh part, "Historical and Biographical Description of the Indians," was never completed. Only three complete sets of the Aboriginal Portfolio containing all 80 plates, a lithographed title page issued with the final part, and three advertisement leaves, are known to have sold at auction. Complete copies are next to impossible to obtain; Sabin only calls for 72 plates in his bibliography because finding the full eighty is so rare. And when the 80-plate copies are obtainable, they command a high price: Christie's sold one in 2005 for $307,200. This copy, containing 72 plates, the three prospectus advertisement leaves, and an original blue pap.

FIRST EDITION. 165 x 92 mm. (6 1/2 x 3 3/4"). 3 p.l., 121 pp. EXQUISITE CITRON MOROCCO, GILT AND INLAID, BY THE CLUB BINDERY (stamp-signed and dated 1908 on front turn-in), covers with inlaid frame and cornerpieces of chestnut brown morocco outlined with double rules and densely tooled in gilt, central panel with rectangular extension at center of each side containing a gilt fleuron, raised bands, spine compartments with inlaid panel of chestnut brown morocco tooled with pointillé and small tools, gilt titling, turn-ins with floral roll, marbled endpapers, all edges gilt. In a brown morocco-backed marbled paper chemise. Title page with the bust of a poet in laurel wreath. Front pastedown with armorial Cardiff Castle bookplate of the Marquess of Bute and morocco ex-libris of Beverly Chew. Tail margin of p. 109 with faint annotation in a 19th century hand. Hayward 231; Ashley III:9. â Leaves a little yellowed with age, isolated tiny rust spots or minor smudges but A FINE COPY, clean and fresh internally, IN A FLAWLESS BINDING. This is a volume with every desirable quality imaginable: the first edition of the first book of poems by one of the most important Romantic poets, offered in a splendid binding by the first great American workshop, in beautiful condition and with distinguished provenance. Though the publisher was disappointed in the sales of Keats' "Poems," Day finds the book "filled with youthful enthusiasm for various discoveries," among them poetry, the art and literature of classical Greece, and the beauty of Nature. Among the contents are Keats' first known poem, "Imitation of Spenser"; what Day calls his "first indisputably great poem," "On First Looking into Chapman's Homer"; and his first important longer poem, "Sleep and Poetry." Although he lived but a short time, Keats (1795-1821) left a lasting mark on English literature, and his poetry remains popular to this day. In the words of the Poetry Foundation, "The urgency of this poetry has always appeared greater to his readers for his intense love of beauty and his tragically short life. Keats approached the relations among experience, imagination, art, and illusion with penetrating thoughtfulness, with neither sentimentality nor cynicism but with a delight in the ways in which beauty, in its own subtle and often surprising ways, reveals the truth." In addition to the importance of the content here, this item is memorable because of its beautiful binding. Once the Grolier Club was founded in 1884 as an organization to further the interests of America's most serious bibliophiles, it soon became apparent that the country's few established hand binders were overtaxed in providing repairs and rebinding for the club members' rapidly accumulating acquisitions. As a consequence, in 1895, Grolier members, along with Edwin Holden and other wealthy collectors, established the Club Bindery in order to attract European craftsmen to provide, close to home, fine quality binding work rivalling what was available abroad. The Club Bindery was in operation until 1909, with Robert Hoe being its most influential manager and client. It provided bindings that tended to be traditional in style--though frequently with elaborate decoration--and that lived up to its patrons' expectations in terms of excellence. The first members of the staff of the Club Bindery were the Englishmen R. W. Smith and Frank Mansell. They were subsequently joined by a number of French binders, chief among them being Leon Maillard, who had worked previously for Cuzin, Gruel, and Marius-Michel, and whose precise and intricate finishing is impressively demonstrated on our binding here. Our binding was commissioned by Grolier Club member Beverly Chew (1850-1924), a successful New York banker who was an extremely discriminating collector, first, of American literature and, subsequently and more importantly, British literature. He bought heavily in 16th and 17th century authors, and sold 2,000 choice titles in this area in one transaction to Henry E. Huntington, probably the most famous of all American book collectors. Dickinson says that Chew was one of the most respected collectors of his time, and that his contributions to the very useful Grolier Club catalogue "Wither to Prior" were invaluable.

Couverture rigide. Etat : Très bon. Paris, Desray, 1802.5 parties réunies en 2 grands volumes in-folio de : I/ (2) ff., x pp., 128, 70 planches numérotées à pleine page, 8 pp., 6 planches numérotées à pleine page, 28 pp., 9 planches numérotées à pleine page ; II/ (2) ff., 128 pp., 89 planches numérotées à pleine page (numérotées 88 car il y a une 26 bis), 40 pp., 16 planches numérotées à pleine page dont une sur double page (n°14). Soit au total 190 planches.Qs. légères piqûres sans gravité. Demi-chagrin rouge à coins, dos à nerfs ornés. Reliure de l'époque.505 x 333 mm. --- Edition originale ornée de 190 estampes gravées sur cuivre d'après les dessins de Jean-Baptiste Audebert, imprimées en couleurs et rehaussées à l'or pur selon une méthode originale mise au point par Audebert.Fine Bird Books p. 56 ; Nissen IVB, 47; Ronsil 103; Wood, p. 206; Zimmer, p. 17; Sander, Illustrierten franz ö sischen Bücher des 18. Jahrhunderts, 58 ; Balis 52 ; Buchanan, Nature into Art 105 ; Copenhagen / Anker 14 ; Cottrell 19 ; Ellis/Mengel 93 ; McGilI/Wood 206.Publié en 32 livraisons sur 26 mois, le tirage fut limité à 312 exemplaires : 200 légendés en or, 100 exemplaires in-4 légendés en noir et 12 exemplaires avec le texte entièrement imprimé à l'or.L'un des très précieux 200 exemplaires de luxe tirés au format grand in-folio avec les légendes imprimées en or.Jean-Baptiste Audebert (1759-1800) mourut au cours de la publication de cette ?uvre qui fut poursuivie par Louis-Pierre Vieillot (1748-1831).Il s'agit de l'une des plus importantes publications ornithologiques du XIXe siècle.L'illustration comprend 190 planches hors texte dessinées par Audebert, gravées sur cuivre par Louis Bouquet et imprimées en couleurs par Langlois, l'un des meilleurs imprimeurs en taille-douce de l'époque. Soixante-huit nouvelles espèces y sont décrites pour la première fois avec une extrême précision, "particulièrement de la Nouvelle Hollande". Audebert avait en effet sol /// Paris, Desray, 1802.5 parts in 2 large folio volumes [505 x 333 mm] of: I/ (2) ll., x pp., 128, 70 numbered full-page plates, 8 pp., 6 numbered full-page plates, 28 pp., 9 numbered full-page plates ; II/ (2) ll., 128 pp., 89 numbered full-page plates (numbered 88 since there is a 26 bis), 40 pp., 16 numbered full-page plates including one on double-page (n°14). Thus a total of 190 plates. Some very light spotting. Half red shagreen, ribbed and decorated spine. Contemporary binding. --- First edition illustrated with 190 copper plates after drawings by Jean-Baptiste Audebert, printed in colour and enhanced with pure gold according to an original method developed by Audebert.Fine Bird Books p. 56 ; Nissen IVB, 47; Ronsil 103; Wood, p. 206; Zimmer, p. 17; Sander, Illustrierten franz ö sischen Bücher des 18. Jahrhunderts, 58 ; Balis 52 ; Buchanan, Nature into Art 105 ; Copenhagen / Anker 14 ; Cottrell 19 ; Ellis/Mengel 93 ; McGilI/Wood 206.Published in 32 issues over 26 months, the print run was limited to 312 copies only: 200 with gold captions, 100 4to copies with black captions and 12 copies with the text entirely printed in gold.One of the very precious 200 deluxe copies printed in large folio format with the captions printed in gold.Jean-Baptiste Audebert (1759-1800) died during the publication of this work which was followed by Louis-Pierre Vieillot (1748-1831).This is one of the most important ornithological publications of the 19th century.The illustration includes 190 plates out of the text drawn by Audebert, engraved on copper by Louis Bouquet and printed in colour by Langlois, one of the best intaglio printers of the time. Sixty-eight new species are described for the first time with extreme precision, "particularly from New Holland". Audebert had indeed solicited foreign collectors and firms in order to offer the most complete work possible. Having improved the printing and colouring process, Audebert had also called upon the greatest artists of h.

Hardcover. Etat : Fine. This volume with 69 originally hand-colored lithographs is from one of the rarest Indian works, James Otto Lewisâ s The Aboriginal Portfolio. It was the first collection of portraits of North American Indians preceding both Catlin and McKenney & Hallâ s works. George Lehman & Peter S. Duval published the Portfolio in Philadelphia between 1835 and 1836. Lewis was responsible with the images with hand-coloring completed by Lehman & Duval.The work has 69 of the originallly hand-colored lithograph plates. It is expertly bound to style in dark purple half morocco over period purple cloth boards, spine with raised bands in six compartments, all edges are stained red. The work was originally issued in ten parts in total, but the end of the run was reduced in size due to struggling sales and the impending release of McKenney & Hall's competing project. This limited distribution of the final parts make the publication "famously rare." (Reese) Only three complete sets with 80 plates are known to have been sold at auction. This copy, containing 69 plates and the three letterpress prospectus advertisement leaves, is a strong representation of Lewis's project.The Aboriginal Portfolio is the first published portrait collection of prominent Native American leaders, made "on the spot and in the field." "Lewis is about to publish in numbers, a collection of Indian lithographic portraits taken by him during a residence of about fifteen years among the various tribes of the west. He has succeeded in obtaining numerous portraits, all of which are remarkably true to nature. Some of the lithographs we have examined, and we are sure that they are well calculated to excite interest." - St. Louis Commercial Bulletin, May 18, 1835.James Otto Lewis (1799-1858) was born in Philadelphia. He studied in St. Louis and became an engraver in portraitist. He moved to Detroit later, when in 1823 the governor of Michigan, Lewis Cass, asked him to paint Tens-qua-ta-wa, a Shawnee prophet, in an official diplomatic delegation to the city (plate 67). Cass sent the portrait to Thomas L. McKenney, Superintendent of Indian Fairs, with the request he become the official government portraitist of Indian councils in the Great Lakes region.Lewisâ s work was also the first large work to deal with a subject beyond the East Coast and also one of the earliest American lithography projects. Lewis painted Indians on his travels with Michigan Governor Lewis Cass. They went on four Indian treaty expeditions in the Great Lakes regions. Unfortunately, like McKenney & Hall's work, Lewis's original paintings were destroyed in the Smithsonian fire of 1865. --- The work is in very good to excellent condition. There may be a few minor marks or imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 10 3/4" by 17 1/8".

Pas de couverture. Etat : Bon. Gauguin évoque pêle-mêle son installation à Tahiti, sa vie de débauche sexuelle et financière, ses envies de peinture et sa famille, restée en Europe. Signé par l'auteur.

First edition. First edition. Six volumes, in their first binding: contemporary half leather, spine with raised bands, gilt ornaments and title, panels covered with marbled paper. Illustrated with 54 hand-colored lithographs (many protected with the original tissue paper). Shelfmark vignettes at the head of the spine to each volume. Vol. 1: xvi 236 pp., 10 pls.; Vol. 2: [4] 276 pp., 7 pls.; Vol. 3: [4] 204 pp., 5 pls.; Vol. 4: [4] 299 [1] pp., 18 pls.; Vol. 5: [4] 337 [1] pp., 6 pls.; Vol. 6: [4] 281 [1] pp., 8 pls. The first general work on Brazil in French, illustrated with fifty-four hand-colored lithographs. Written by Hippolyte Taunay (1793-1864) son of the celebrated painter Nicolas-Antoine Taunay, a member of the Missão Artística Francesa came to Rio de Janeiro in 1816. Hippolyte, as an assistant of Georges Cuvier traveled through Rio, Bahia, and Pernambuco to assemble a natural history collection for the great naturalist. While in Sao Paolo, Taunay met Ferdinand Denis (1798-1890) who helped him with his work and became the co-author of the present book. Denis was pursuing a diplomatic career and stayed in Brazil for some two years which dramatically changed his path and eventually he dedicated a large part of his life to the discovery, study, and publication of Portuguese and Spanish manuscripts related to Brazil. Although some sections of the book are gathered from earlier works, a large part was written by Taunay and Denis, as it is described in the preface. Most of the views of Rio de Janeiro, Bahia, and Pernambuco are by Taunay and the excellent reproduction were made after the works of Jean de Léry (Histoire d'un voyage fait en la terre de Brésil, 1578), Prince Maximilian of Wied-Neuwied (Reise nach Brasilien, 1820), and John Mawe (Travels in the Interior of Brazil, 1812). The themes of the illustrations vary from views of cities, buildings, regions and landscapes (Bahia, Pernambuco, Mato Grosso, Rio de Janeiro, Olinda) to ethnological subjects such as portraits, objects, ornaments, and customs, including capturing a jaguar and whale hunting, among many others. "The six volumes absolutely complete with all the plates are very rare. [.]. Some volumes include plates 'avant la lettre' and copies exist with contemporary colouring. Most of the plates are folding." (Borba de Moraes) Our copy is absolutely complete, and one of those with contemporary colouring. The larger illustrations (35) are bound as double-page instead of folding plates, except for one (in vol. 4), and the plates roughly follow the order of what Borba de Moraes suggests. Scarce in the trade, RBH records the last copy in 1978. Sabin 94416, Borba de Moraes II 846-7. Light foxing throughout. A brown stain to the outer margin of vol. 2 between pp. 223-52. Spine of vol. 5 damaged at the head. Otherwise in fine condition. Six volumes, in their first binding: contemporary half leather, spine with raised bands, gilt ornaments and title, panels covered with marbled paper. Illustrated with 54 hand-colored lithographs (many protected with the original tissue paper). Shelfmark vignettes at the head of the spine to each volume.

Two volumes, large folio (66.5 x 48.5 cm approx.), vi, 265, liii pp., plate volume complete with 143 engraved plates and maps, many double-page, generally showing 2 or more images, numbered to 141 (2 bis plates 20bis & 54bis, plates 4 & 5 on 1 page), original tissue guards; very occasional light toning to paper as often. Contemporary red straight-grained morocco gilt, covers with gilt border, spines in eight compartments, green morocco lettering-piece to second, others with gilt corners and centre-pieces of bird and head tools; spines lightly faded. Magnificent large format classic of Egyptology, the first major work on the subject. A superb example, very fresh and finely bound in contemporary red morocco. Denon (1747-1825), was a diplomat and artist who had moved his way up in Parisian society, befriended King Louis XV, survived the Revolution, and attracted the attention of Napoleon. He joined the Egyptian expedition at Napoleon's invitation, even though he was not included in the Commission of Sciences and Arts. When, in December 1798, Napoleon decided to send General Belliard to join up with General Desaix in pursuit of of the Mameluke leader Murad Bey into Upper Egypt, Denon was the one artist who was allowed to go along. He made good use of his time, sketching furiously when the troops paused for brief moments. Denon was the first artist to discover and draw the temples and ruins at Thebes, Esna, Edfu, and Philae. Until that time, most of the known Egyptian antiquities were pyramids and scattered pieces of sculptures and stelae. It was when the brigade reached Dendera, just across from Qena, that Denon realized what might be in store. He came through the gate and got a view of the portico, and was enthralled. "I felt that I was in the sanctuary of the arts and sciences Never did the labour of man show me the human race in such a splendid point of view. In the ruins of Tentyra [the Roman word for Dendera] the Egyptians appeared to me giants." On his return to Paris he decided to publish his journal and drawings because the fate of the Commission was uncertain. Thus Denon was the first to reveal the richness of Egyptian art to Europe. Hilmy 172; Cf. Blackmer 471 (later edition).

Daumier's Most Celebrated Work Les Robert Macaire [Caricaturana] Complete with 100 Spectacular Hand-Colored Plates, All Heightened with Gum Arabic A Remarkable Example in the Original Publisher's Blue Cloth DAUMIER, Honoré and Charles Philipon. Les Robert Macaire [Caricaturana]. Paris: 1838. First edition. Folio (13 3/16 x 10 3/8 inches; 338 x 263 mm.). One hundred [and one] hand-colored lithographed plates (complete) heightened with gum arabic. In this copy plate 96 "A tous les coeurs bien nés que le patrie est chère!!" (DR-451 published 10/28/1838) has been substituted by the insertion of "Robert Macaire 2e. Sèrie 7. Nouveautés philantropiques." (DR-872 published 04/04/1841) - The plate number has been changed in old ink to "96" - most likely by the publisher prior to binding - see note below. [An original hand colored example of plate 96 "A tous les coeurs bien nés que le patrie est chère!!" (DR-451 published 10/28/1838) has now been inserted after plate 95]. The first plate bound a little tight at top margin just touching image, plate 13 (DR-366) with small (1 1/2 inch) expertly repaired marginal tear just touching image, plate 32 (DR- 385); Small expert repair (5/8 inch) to inner blank margin of plate 46 (DR-401); tiny (5/16 inch) repaired tear on blank margins of plates 11 (DR-364), 31 (DR-385) and 48 (DR-403) - a few plates very slightly toned, plate 34 (DR-388) a little foxed. Publisher's diaper grain blue cloth, covers ruled in blind, front cover with "Robert - Macaire" decoratively stamped in gilt, plain endpapers (expertly re-cased, inner hinges repaired). Old (April 1942) booksellers catalog description on front free-endpaper (not mentioning the substituted plate). Old tape residue on front free and rear endpapers. An excellent example of Honoré Daumier's most celebrated work, the superb hand coloring bright and fresh. This is only the second time we have seen this book in the publisher's binding. Note: The second series of Robert Macaire - twenty lithographs (DR-866 - DR-885 was published from 10/25/1840 to 09/11/1842) and is excessively rare - we have never seen or handled any of these plates before. "Les Robert Macaire remains Daumier's best-known work. Baudelaire chose it. for specific discussion in his essay on French caricaturists and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies, a far larger number than for any other series [however the vast majority of these copies were issued with plain lithographs - only a few copies were issued with hand-coloring]. Yet so persistent was the demand that 6000 two-volume sets of reduced copies, called Les cent-et-un Robert Macaire, were published in 1839." (Ray). Though 2,500 may have been printed few have survived. OCLC/KVK records only two complete copies in institutions worldwide, Sadleir's at the Morgan Library, and one at Yale. ABPC reports only seven complete copies at auction since 1935. The 'reduced' edition of 1839-41 Les cent-et-un Robert Macaire is still quite rare at auction (two complete copies only since 1975) but there are more copies in institutional holdings. "When politics became a forbidden topic in Le Charivari, where Caricaturana first appeared, Daumier and Philipon turned to social satire. If they could not attack Louis-Philippe directly, they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frederick Lemaitre had created in a hack melodrama called L'Auberge des adrets, they showed him. ranging through all kinds of commercial enterprise, in the stock market, in the banks, in the courts, and in dozens of other public settings, never failing to find eager dupes. Though Daumier's designs are are superb in themselves. they would be incomplete without the unfailing wit and point of Philipon's captions" (Ray). Daumier Register 354-373, 375-455; Ray, Art of the French Illustrated Book 161. Beraldi V, p. 124.