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No binding. Etat : Near fine. First. THE ORIGINALS DRAWINGS OF THE MOST AMBITIOUS STATE SURVEY OF MARYLAND. 1833-1837: 1. Manuscript map of Washington and Frederick Counties. 19 1/2" x 27 1/4", laid down on linen. Ink and wash. 2. Manuscript map of the District of Columbia and Anne Arundel, Montgomery and Prince George's Counties. 19 3/8" x 20 1/2", laid down on linen. Ink and wash. 3. Manuscript triangulation map of the northeastern part of the Atlantic Coastal Plain and the Piedmont Plateau. 21 3/4" x 29 1/2", laid down on linen. Graphite and red and black ink. 4. Manuscript map of Dorchester, Somerset and Worcester Counties. 19 1/2" x 27 1/2", laid down on linen. Ink and wash 5. Manuscript map of Kent, Queen Ann, Talbot and Caroline Counties. 19 1/2" x 17 1/4", laid down on linen. Ink and wash. 6. Manuscript map of Calvert, Charles and St. Mary Counties. 19 1/2" x 27 1/4", laid down on linen. Ink and wash. 7. Manuscript map of Allegany County (including modern Garrett County). 19 1/2" x 27 1/2", laid down on linen. Ink and wash. 8. Manuscript map of Baltimore, Harford and Cecil Counties. 7 3/4" x 12 3/8". Graphite. 9. Manuscript map of the state of Maryland. 16 1/4" x 28", laid down on linen. Ink. 10. Map, shewing the proposed Division of the Counties of Howard and Anne-Arundel. Baltimore: Edward Weber, [ca. 1837]. 13" x 22" sheet. Lithograph. 11. Map showing the proposed new Carroll ("Carrol") County and its surroundings. Baltimore: J. Penniman, [ca. 1835]. 16" x 10" sheet. On the verso, the text of the petition. [Individual condition reports available.] Each map with marginal pencil shelfmarks as well as inkstamps from the Enoch Pratt Free Library. In 1833, John Henry Alexander (1812-1867), twenty-one and already some years graduated from St. John's College in Annapolis, was commissioned by the Maryland General Assembly to survey and map the whole of its state for topographical and census purposes. Alexander as State Topographical Engineer with his friend Julius Ducatel, State Geologist, mapped the whole of the state with exceptional accuracy, issuing surveys with the General Assembly's annual reports through 1840. The present manuscript maps are the basis for those printed and published maps. Although the project was never completed, Alexander's is surely the largest contribution made by an individual to the mapping of a state. The small pencil map (8) shows an earlier phase of the mapmaking process; it would be enlarged and inked once it had been reviewed. Triangulation was the most accurate method of mapmaking up until satellite surveys; Alexander proposed to build on the work of the United States Office of Coast Survey, founded 1807 and re-established in 1832, which used the same method, but was sluggish in reaching Maryland. The general trigonometric plan is visible in map 3, but Alexander would not have the opportunity to bring it down to the county level. When funding stopped in 1841, he abandoned the project, and focused his efforts on his highly profitable coal mines in the western part of the state. (The Library of Congress holds a single three-sheet manuscript map of Alexander's (LCCN 77693816) from 1840, summing up all the work that had been done up to that point.) Alexander's maps would come to be of immense use in the Civil War in order to mount the defense of Washington, D.C. The collection of maps was given anonymously to the Maryland Academy of Sciences in January of 1878, though it is generally understood that the donor was the widow of Philip T. Tyson, the State Agricultural Chemist, who in 1859 brought to completion the geological survey that had stopped with Ducatel's death in 1849. The Maryland Academy of Sciences deposit the collection with the Enoch Pratt Free Library in Baltimore in 1937; the inkstamps and shelfmarks are from their collection. Papenfuse, Edward C. and Joseph M. Coale III. The Maryland State Archives Atlas of Historical Maps of Maryland 1608-1908. Baltimore: The Johns Hopkins University Press, 2003; 67-70.

DARWIN'S FIRST SEPARATELY PRINTED WORK - INSCRIBED. First edition, very rare, inscribed by John Stevens Henslow, of Darwin's first separately printed work and his first account in print of his discoveries on the Beagle. "During his five-year voyage on HMS Beagle, Darwin maintained a correspondence with John Stevens Henslow, his mentor in natural history and lifelong friend; it was Henslow who had obtained for Darwin the post of ship's naturalist on the Beagle. The present pamphlet contains extracts made by Henslow from ten of Darwin's letters" (Norman). Henslow had this pamphlet printed without Darwin's knowledge for distribution amongst the members of the Cambridge Philosophical Society "in consequence of the interest which has been excited by some of the Geological notices which they contain, and which were read at a Meeting of the Society on the 16th of November 1835" (p. [1]), an act which secured Darwin's reputation with the scientific community even before his return to England in October, 1836. Freeman states that 'it has always been assumed that it was issued . in December 1835, and this is probably so, but I have not seen a copy with a dated ownership inscription or accession stamp for that year.' The pamphlet was printed without Darwin's knowledge; when he learned of it he confessed himself 'a good deal horrified' at Henslow making public 'what had been written without care or accuracy . but, as the Spaniard says, 'No hay remedio''" (Barlow (ed.), Charles Darwin and the Voyage of the Beagle, pp. 140-142)" (Norman). "Darwin, however, was mollified when he learned from his sister that the booklet had been well received and that Henslow had told the Darwin family that young Charles would surely be placed 'among the first naturalists of the day.' He was particularly gratified to learn that his father, who had had doubts about Charles's decision to pursue a career in natural history, 'did not move from his seat till he had read every word of your book . he liked so much the simple clear way you gave information'" (Gibson, The Spirit of Inquiry: How one extraordinary society shaped modern science, pp. 89-90). "Despite Henslow's reservations about the evolutionary ideas put forward in Origin - he thought Darwin had 'pressed his hypothesis too far' -the two men remained friends to the end of Henslow's life; more than 140 letters between them survive. Darwin continued to rely on Henslow for information on a variety of plants, and wrote of him after his death 'a better man never walked this earth'" (Darwin Correspondence Project). A proof copy with some twenty corrections in pencil was sold by Sotheby's on 13 March 1973 (lot 404), and since then only four other copies have sold at auction, including a copy presented by Henslow toOxford's Ashmolean Natural History Society. Provenance: Inscribed at the head of the first page 'from Professor Henslo[w] / [18]38'; Sir Geoffrey Keynes, surgeon and bibliophile (1887-1982), ownership inscription on folding case dated 1937; his son (and Charles Darwin's great-grandson), Prof. Richard Keynes (1919-2010), physiologist and Darwin scholar. "Darwin came to know Henslow through his attendance at his scientific talks and outings at Cambridge University. He had heard of Henslow through his brother Erasmus who greatly revered him as a man of scientific brilliance and integrity. Inspired by Henslow he soon became a visitor to Henslow's house and subsequently met the scientific fraternity. "The British Admiralty Hydrographer of the Navy, Francis Beaufort, was part of the Cambridge network, and keen to promote science. When organising the second survey voyage of HMS Beagle, he took up captain Robert FitzRoy's suggestion of taking along a geologist, and asked his friend the mathematician George Peacock to 'recommend a proper person to go out as a naturalist with this expedition.' Peacock offered the place to the Reverend Leonard Jenyns, who got as far as packing his clothes before having second thoughts. Henslow thought of going, but his wife 'looked so miserable' that he turned it down. "Henslow obviously rated Darwin highly, though at the time science was not a formally recognised subject at Cambridge. Henslow replied to Peacock that Darwin was 'the best qualified person I know of who is likely to undertake such a situation', and then wrote a letter to Darwin who was then on a field trip in Wales studying practical geology with Adam Sedgwick (Professor of Geology). When Darwin returned to Shrewsbury on 29 August 1831 he found the letter from Henslow telling him of the offer. His father was opposed to the idea, so Darwin turned it down, but his uncle overcame the objections, and on 1 September Darwin accepted the self-funded position. "Preparations were quickly made. Darwin insisted that his collections would be under his own control, subject to them going to a suitable public body. Henslow had hopes for the small Cambridge Philosophical Society museum, but Darwin diplomatically said new finds should go to the 'largest & most central collection' rather than a 'Country collection, let it be ever so good.' FitzRoy arranged transport of specimens to England by the Admiralty Packet Service, and Henslow agreed to store them at Cambridge. Darwin confirmed with him arrangements for land carriage from the port. "After delays, the Beagle set off on 27 December 1831. They visited Atlantic islands, then reached South America on 4 April 1832. Darwin, delighted by his geological findings, collections of organisms and by the sights of the tropics, waited until they were at Rio de Janeiro to write the first of a series of letters to Henslow. "Extracts were taken from ten letters: On 18 May, staying onshore in a cottage at Botafogo near Rio de Janeiro, Darwin wrote summarising his research since leaving England. On 15 August he wrote from Montevideo about specimens collected in tropical forests, and described the first box of specimens, which he was sending by the Admiralty.

First edition of "certainly the most important biological book ever written" (Freeman), one of 1250 copies. Octavo, bound in original cloth, half-title, one folding lithographed diagram, without advertisements. In very good condition with cracks to inner hinges and a touch of shelfwear. Housed in a custom clamshell box. A fine example of this landmark work. Darwin â revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been takenâ (PMM 344). â Without question a watershed work in the history of modern life sciences, Darwinâ s Origin elaborated a proposition that species slowly evolve from common ancestors through the mechanism of natural selection. As he himself expected, Darwinâ s theory became, and continues to be in some circles, the object of intense controversyâ (American Philosophical Society). â The five years [of Darwinâ s voyage on the Beagle] were the most important event in Darwinâ s intellectual life and in the history of biological science. Darwin sailed with no formal training. He returned a hard-headed man of scienceâ ¦ The experiences of his five years in the Beagle, how he dealt with them, and what they led to, built up into a process of epoch-making importance in the history of thoughtâ (PMM).

Three volumes. Elephant folio. (27 1/4 x 21 1/4 inches). First edition. Three lithograph title-pages, three leaves of letterpress contents. 150 hand-colored lithograph plates by John T. Bown of Philadelphia after John James Audubon and John Woodhouse Audubon, the backgrounds after Victor Audubon. Expertly bound to style in purple half morocco over period purple cloth boards, spine with raised bands lettered in the second and third compartments, the others decorated in gilt, marbled edges and endpapers. Within grey cloth clamshell cases with red morocco lettering-pieces in gilt. [With:] The Viviparous Quadrupeds of North America. New York: John James Audubon, 1846-1851-1854. 3 volumes, small 4to (10 x 7 inches). Half-titles, list of subscribers. 6 hand-colored lithograph plates. Expertly bound to style uniform to the above in purple half morocco over period purple cloth boards, marbled endpapers. A beautiful set of the first elephant folio edition of Audubon's "Quadrupeds," complete with the rare text volumes with six additional hand-colored plates. This is Audubon's final great natural history work. Unlike the double-elephant folio edition of The Birds of America, which was printed in London, the Quadrupeds was produced in the United States. It was the largest and most significant color-plate book produced in America in the nineteenth-century, and a fitting monument to Audubon's continuing genius. The work was originally published in thirty parts, each containing five plates, and priced at ten dollars per number. The first proofs were ready in 1842, but Audubon was fully employing the services of the lithographer Bowen on the octavo edition of The Birds of America, which was the greatest moneymaker of any of the Audubon family ventures. Instead, Audubon and his sons busied themselves in gathering subscribers, signing up over two hundred by the summer of 1844 (eventually the subscription list reached three hundred). The last part of the octavo Birds appeared in May 1844; publication of the folio Quadrupeds commenced immediately after with the first number being issued in January 1845 and the first volume completed within the year. Audubon's health began to fail dramatically, and responsibility for new artwork fell mainly on his son John Woodhouse Audubon, with some help from his brother Victor. The second volume was completed in March 1847. But as John Woodhouse traveled first to Texas, then to London and Europe, the pace slowed further. The final number was issued early in 1849. By this time the elder Audubon had succumbed to senility ("His mind is all in ruins," Bachman wrote sadly in June 1848). Audubon died in early 1851. In the end, about half of the plates for Quadrupeds were based on the works of John James and half on John Woodhouse. Audubon's collaborator on the text of the Quadrupeds was the naturalist and Lutheran clergyman, Bachman, who was a recognized authority on the subject in the United States. The two began their association when Audubon stayed with Bachman and his family in Charleston for a month in 1831. This friendship was later cemented by the marriage of Audubon's sons, Victor and John, to Bachman's daughters, Maria and Eliza. Audubon knew Bachman's contribution to the Quadrupeds would be crucial, especially because of concerns over his own technical knowledge. By 1840, Bachman had become indispensable to the Quadrupeds project, and as Audubon showed increasing signs of illness, found himself writing most of the text, with some help from Victor who was the project's primary business manager. The text appeared between December 1846 and the spring of 1854. Two issues of the third volume of the text are known, the present being the preferred second issue, with the supplementary text and the six octavo-sized plates issued in 1854, those six images not found in the folio. The elephant folio edition of Audubon's Quadrupeds will always be compared to Audubon's incomparable Birds. It should be judged in its own right, as one of the grandest American works of natural history ever produced, and one of the greatest American illustrated works ever created. Bennett, p.5. Ford, Audubon's Animals, passim. Peck, "Audubon and Bachman, a Collaboration in Science," pp.71-115, in Boehme's John James Audubon in the West. Nissen 162. Reese, Stamped with a National Character 36. Sabin 2367. Tyler, "The Publication of the Viviparous Quadrupeds of North America," pp.119-182 in Boehme. Wood, p.208.

Hardcover. Etat : Very Good. 1st Edition. THE GOLDEN SET, COLORED, WITH THE PUBLISHER'S WRAPPERS. Four volumes (two text, two plates). Coblenz: J. Hoelscher; 1839-41. Text-volumes: quarto (12 7/16" x 10 1/16", 316mm x 256mm). Vignettes: oblong folio (17" x 22 ¼", 431mm x 563mm). Tableaux: oblong folio (18 1/16" x 24 3/8", 459mm x 619mm). [Full collation available.] With 81 hand-colored aquatint-engraved plates, a lithographed chart and a lithographed map, hand-colored in outline. Bound in modern half black morocco gilt over blue paste-paper. On the text volumes' spine, author, title and number gilt within scrollwork. Top edges of the text-block gilt, fore and lower edges untrimmed. On the two plate volumes, author and title gilt to black morocco on the front boards. On the spines, 7 pairs of gilt fillets. [Full condition report available.] Very good, with scattered faults. Alexander Philipp Maximilian of Wied-Neuwied (1782-1867) was a protégé of Alexander von Humboldt, the all-encompassing man of Enlightenment science, who passed on to the young princeling his own passion for exploration. Indeed, Humboldt's travels through the Americas 1799-1804 sparked Prince Maximilian -- born the grandson of the ruling prince, and his father's fifth son; i.e., with no chance of ruling -- to do the same. Self-funded, Maximilian set off for Brazil 1815-1817, that trip being published from 1820 through 1850. Encouraged by his success, Maximilian made a second trip to America -- this through North America, getting as far west as Ft. McKenzie in Montana -- from 1832 to 1834, and now accompanied by the Swiss painter Karl Bodmer (1809-1893). The combination of the Humboldt-trained prince and the superbly sensitive artist Bodmer produced the best account of the American West, free from jingoism and agenda. Production of the work was lengthy, costly and complex (the Joslyn Art Museum's Karl Bodmer's North American Prints, edited by Brandon K. Ruud, is indispensable for its analysis). The question of coloration is vexatious to collectors, but Ruud corrects the "misinformation" that only the 46 subscribers' sets were fully colored; he estimates in fact that between 100 and 200 sets were colored in the XIXc either by Hölscher or the English (Ackermann) or French (Bertrand) publishers. Earlier cataloguers of the present item have called it "a later compiled set with resulting variance to margins, blind stamps and paper stock." The question of margins (generally about a centimeter along the long edge) is begged by the exceptional size of our set's plates; our set's Vignettes are some 5 ½" taller and wider than the Bobins set's. As with so many XIXc plate-books issued in parts, there was some natural variation in the size of the finished sheets; most were likely trimmed down to a uniform size, but the present set -- especially the large Vignettes -- seems not to have been. The variance in blind stamps is slight; 91% have the C. Bodmer control stamp, 5% have the earlier Ch. Bodmer stamp and only 3 (4%) are unstamped. I cannot detect variation in the paper stock (although some have tanned and others have not). Thanks to Ruud 2004, one can now make definitive study of the states of the plates (a spreadsheet is available). In the present set, 69 (85%) of the plates are in state 1, 11 are in state 2 (Tableaux 1, 18, 22, 42 and 46; Vignettes 1, 2, 4, 10, 12 and 18) and 1 in state 3 (Tableau 17). Crucially, none of the plates has the date, which is the hallmark of a later set. The set was purchased at the Sotheby's New York sale of John Golden (22 November 2022, lot 48), "Book Illustration in the Age of Scientific Discovery." Completely colored sets receive Howes's highest scarcity rating: dd ("superlatively rare books, almost unobtainable"). Abbey 615; Howes M 443a; Sabin 47014; Wagner-Camp 76:1. Ruud, Brandon K. (ed.). Karl Bodmer's North American Prints. Omaha, Lincoln and London: University of Nebraska Press for the Joslyn Art Museum, 2004.

Royal 8vo (262 x 194 mm). 2 vols. 710 pp. 620 pp. Printed in Arabic throughout, floral woodcut sarlawh to each volume, text within two-line frame throughout, titles in nasta'liq types. Bound in somewhat later half leather over marbled boards; spine on five raised bands with gilt title, volume number, and edition. Double endpapers. Housed in custom-made, half-cloth modern slipcase. First complete edition in Arabic of the Thousand and One Nights, and the first edition printed in the Arab world. Very rare, with only seven copies located in libraries worldwide (American University Beirut, British Library, Danish Royal Library, Harvard, Huntington, and Yale); none traced in auction records. The Bulaq edition was preceded by another two-volume edition printed at Calcutta between 1814 and 1818, which contained a selection of 200 "Nights" only; the German orientalist Max Habicht began his multi-volume, so-called Breslau edition in 1824, though it remained incomplete on his death in 1839, and at any rate used the Bulaq text as one of its many sources. The Bulaq edition was prepared by one Abd al-Rahman al-Sifti al-Sharqawi, probably from a single manuscript which is now lost. It proved "more correct than the garbled and semi-colloquial renderings given by the manuscripts used in the compilations of Calcutta I and Breslau", and was instrumental in stabilising the Thousand and One Nights corpus (Irwin, The Arabian Nights: A Companion, p. 44). It was the main source for Edward Lane s pioneering English translation (1889-41) and for the last of the four historically important Arabic editions, published at Calcutta in 1839-42 (and known as "Calcutta II"). Bulaq and Calcutta II "superseded almost completely all other texts and formed the general notion of the Arabian Nights. For more than half a century it was neither questioned nor contested that the text of the Bulaq and Calcutta II editions was the true and authentic text" (Marzolph, The Arabian Nights Reader, p. 88). - The printing press at Bulaq, Cairo, founded in 1821 by Muhammad Ali Pasha, was the first indigenous press in Egypt and one of the first anywhere in the Arab world, its literary output catering to a keen export market and increased demand among the expanding professional classes of Muhammad Ali s Egypt. For the first few years the press used types cast in Italy, then France. "In 1826 Muhammad Ali sent a delegation to Europe to study printing, and by the 1830s printing had reached a good technical level at Bulaq" (Kent et al., eds., Encyclopaedia of Library and Information Science, vol. 24, p. 63). The present edition exhibits the high standards of Bulaq printing, with the main text composed in authentic and legible naskh-style types, interspersed with attractive headings in nasta liq. - Condition report: 19th-century bibliographical notes on a typed vignette mounted on the endpapers of each volume; bibliographical notes in pencil on endpaper of vol. 1. Handwritten tables of contents loosely inserted to both volumes, probably in Barbier de Meynard's hand in ink and pencil. A few marginal notes in Arabic and French written in pen and pencil throughout. Occasional spotting; pages very slightly yellowed due to age. A tiny hole throughout, at the upper inner corner of the framing rules. Vol. 1: Two small holes at the gutter of fol. [157]2 (pp. 627f.) and minute damage to the upper edge of the last 9 ff. Spine rubbed, upper compartment professionally restored. Vol. 2: A larger light stain to the margin of fol. [4]1 (pp. 13f.), moderately touching the text area but not affecting legibility. Insignificant worming to lower margin of the first 10 ff. Spine rubbed, front hinge professionally restored. Interior of both volumes is clean and firm, overall in very good condition. - Provenance: from the collection of the French oriental scholar Charles Barbier de Meynard (1826-1906) with his stamp and ownership inscription "Bibliothéque de Mr Barbier de Meynard" in both volumes. A member of the Société Asiatique and editor of "Dictionnaire Géographique de la Perse", Barbier de Meynard authored several books and articles and co-translated the 9-volume "Moruj al-dahab" ("Les prairies d'or") of Al-Masudi (Paris, 1861-77). His inscription "Donne par A. Dantan" in the first volume probably refers to Antoine Dantan, a member of the renowned French dragoman dynasty. - Chauvin IV, 18, 20K. Brunet III, 1715. Graesse IV, 523. Fawzi M. Tadrus, Printing in the Arab World with emphasis on Bulaq Press (Doha: University of Qatar, 1982), p. 64. Middle Eastern Languages and the Print Revolution. A Cross-Cultural Encounter, Westhofen 2002, p. 184. Heinz Grotzfeld. Neglected Conclusions of the "Arabian Nights": Gleanings in Forgotten and Overlooked Recensions. In: Journal of Arabic Literature, Vol. 16, (1985), pp. 73-87. Ulrich Marzolph (ed.). The Arabian nights in transnational perspective, Wayne State University Press 2007, p. 51.

Etat : Fine. First edition. STUNNING LARGE HISTORIC PHOTOGRAPH OF TESLA, SIGNED AND INSCRIBED BY TESLA TO EDWARD EVERETT BARLETT. Albumen print, signed and inscribed by Tesla on the original gray mount: "To my friend E. E. Bartlett, New York, June 9, 1896, Nikola Tesla." The photograph shows Tesla in profile seated before the spiral coil of his high-voltage transformer at his East Houston St., New York, laboratory. The photograph, in addition to being arguably the most famous and dramatic portrait of Tesla, is scientifically significant, for it served as a demonstration of the power of his new technique of providing illumination with vacuum tubes. A reproduction of the photograph appeared in the May 20, 1896 issue of Electrical Review, alongside an article where a reporter interviewed Tesla about the novel circumstances of the creation of this photo: "As to his continuous efforts to improve his system of lighting by vacuum tubes, with which he has been identified during a number of years, Tesla said that he has been more successful than he had ever dared to hope. His methods of conversion from ordinary to high-frequency currents are rendered simple in the extreme, the devices are thoroughly reliable and require no attention. Last, but most important of all, he has succeeded in increasing the candle-power of the tubes to practically any intensity desired. "A remarkable and most telling result of the advances he has made in the last direction is a portrait, which he has reluctantly allowed us to use, and which was obtained by two seconds' exposure to the light of a single vacuum tube of small dimensions. Tesla stated further that photographs obtained by the light of such powerful tubes show an amount of detail which no picture taken by the sun or flash light is capable of disclosing. This feature is only faintly shown in the reproduction on this page. The photograph was made by Tonnelé & Company, artists' photographers, who aided Mr. Tesla in his attempts to photograph by the light of phosphorescent tubes about two years ago. "When asked, Mr. Tesla said, in explanation of the picture, speaking with deep feeling, that the volume he was reading was one of the 'Scientific Papers,' of Maxwell, given to him as a token of friendship by Professor Dewar; the chair a gift of his warmest friend, Mr. E. D. Adams; and as to the queer coil to his left, Mr. Tesla hesitatingly remarked that it was the object 'dearest of all in his laboratory,' having been a most valuable instrument in his many-sided investigations. "Mr. Tesla added, good humoredly, that, had it not been for the extraordinary manner in which the photograph was taken, he would not have given this explanation even to such an important personage as the representative of the ELECTRICAL REVIEW." Tesla was correct in insisting that the lighting from the vacuum tubes produced a high-level of detail in the photograph; the intricacies of the coil, in particular, appear remarkably sharp. Overall, the photograph has an orange tint, almost certainly the result of his novel lighting technique. Although this is the only signed example of this photograph we are aware of, it has been reproduced in recent years many times, including serving as the cover image for Marc J. Seifer's groundbreaking biography of Tesla, Wizard. Provenance: The recipient, Edward Everett Bartlett (1863-1942) was a celebrated New Yorker (both he and Tesla were featured in Moses King's Notable New Yorkers, 1896-1899), who founded Bartlett & Co., (later Bartlett Orr Press) on lower Broadway, in 1888. Variously described as an artist, illustrator, printer, and engraver, Bartlett was internationally known as "an expert on newspaper type, and he was credited with the development of much of the linotype type used in newspaper offices throughout the country"; additionally he published several works on the art of the book. (New York Times, Obituary, 1942). Size: Image, 7 3/4 x 9 1/2 inches; with mount, 8.5 x 11 inches. Archival matting and framed with UV-.

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.

Hardcover. Etat : Very Good. "7 volumes (22 x 14 inches). Folio. 418 hand-colored lithographs, many HEIGHTENED WITH GOLD LEAF AND OTHER IRIDESCENT MINERAL PAINTS, overpainted with transparent oil and varnish colors, after John Gould, H.C. Richter and W. Hart, with a 7th volume including the original blue printed paper wrappers. Contemporary half brown morocco (extremities a little scuffed). Provenance: with the bookplates of Frederick Ducane Godman (1834-1919), the celebrated ornithologist, on the front paste-down of each volume. "bring to light the hidden treasures of the great primeval forests of the New World" (Gould "Preface") First editions of the main title and of the Supplement. Gould maintained an obsessive fascination for Hummingbirds: "These wonderful works of creation my thoughts are often directed to them in the day, and my night dreams have not infrequently carried me to their native forests in the distant country of America" (Gould "Preface"). During his lifetime he identified more than 400 species of Hummingbird, Linneaus, by comparison, having only identified 22. Gould famously exhibited his personal collection (from which the plates in this monograph are drawn) at the Great Exhibition of 1851 in the Zoological Gardens in Regents Park, and one of his revolving displays of these tiny birds with their "jewel-like glittering hues" (Gould "Preface") can be seen currently at the Yale Center for British Art as part of their exhibition "Endless Forms": Charles Darwin and the Natural Sciences. As a result Gould's "masterpiece [is] an incomparable catalogue and compendium of beauties" ("Fine Bird Books"). From the distinguished library of Frederick Ducane Godman, author of "A Monograph of the Petrels" (1907), and "Natural History of the Azores" (1870). Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds from the east began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volume Gould initiated a format of publishing that he was to continue for the next fifty years, although for future works he was to write his own text. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than 300 scientific papers. "His hand-coloured lithographic plates, more than 3300 in total, are called 'Gould plates'. Although he did not paint the final illustrations, this description is largely correct: he was the collector (especially in Australia) or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings. The design and natural arrangement of the birds on the plates was due to the genius of John Gould, and a Gould plate has a distinctive beauty and quality. His wife was his first artist. She was followed by Edward Lear, Henry Constantine Richter, William Matthew Hart, and Joseph Wolf" (Gordon C. Sauer for DNB). Anker 177, 182; Diane Donaldson "Picturing Animals in Britain 1750-1850", pp. 59-60; "Fi.

Hardcover. Etat : Very Good. 1st Edition. 5 volumes. Folio (21 4/8 x 14 4/8 inches). 5-page list of Subscribers. 367 EXCEPTIONALLY FINE hand-colored lithographs after John Gould, Josef Wolf, and H.C. Richter. FINE AND ATTRACTIVE contemporary full maroon morocco, by Riviere for Henry Sotheran, each cover with wide decorative gilt border of floral roll-tools, the Devonshire family cipher and coronet stamped in gilt at each corner, the spines in seven compartments with six raised bands, gilt-lettered in two, the others decorated with a profusion of small gilt tools, inner gilt dentelles, all edges gilt (spines very slightly faded, with discreet repairs at foot of joints, versos of endleaves a little spotted). Provenance: from the library of William Cavendish, seventh duke of Devonshire (1808 1891, Duke from 1858). "The most popular of all his works is always likely to be Birds of Great Britain" ("Fine Bird Books") First edition. The Duke of Devonshire was a keen supporter and patron of Gould, subscribing to all of the artist's works in turn and taking two sets of The Birds of Great Britain, the other of which remains at Chatsworth. The duke "never appeared in society in London, reserving his public life for more serious and uplifting pursuits, notably the support of higher education. He was the first chancellor of the University of London, from 1836 to 1856, and an important influence on its early development. He was chancellor of Cambridge University from 1862 until his death; he was chairman of the royal commission on scientific instruction and the advancement of science, which sat from 1871 to 1874; and as an earnest of his commitment to the cause, he provided for the Cavendish Laboratory at Cambridge in 1874. He was a considerable benefactor of Owens College, Manchester, and of the Yorkshire College of Science, Leeds; when these colleges became part of the new federal Victoria University in 1880 he was its first chancellor" (F. M. L. Thompson for DNB). Gould found more subscribers for this than any other of his other monographs, and boasted that he employed the services of "almost all the colourers in London". "Many of the public are quite unaware how the colouring of these large plates is accomplished; and not a few believe that they are produced by some mechanical process or by chromo-lithography. This, however, is not the case; every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought" (Preface). Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works, including nests, chicks and eggs: "I also felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera - a thing hitherto almost entirely neglected by author's, and I feel assured that this infantile age of birdlife will be of much interest for science." (Gould "Preface" to "Introduction", 1873). Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volu.

"INTERESTS OF VAST EXTENT AND IMPORTANCE" (Alexander, page 4) In 1833 Alexander had been commissioned by the General Assembly of Maryland to "examine and collect information, and report to the next General Assembly a plan and drawing for a complete Map of Maryland and to make such surveys as may be required for the purpose of exhibiting the prominent geographical and topographical features of the country, and also to collect such statistical information as will be useful" ("Report.", 1834). By the end of 1834 the same commission had asked him to put aside that work in order to concentrate on "several works of proposed internal improvement, which either had already engaged, or were expected during the season just past to occupy his care and attention. in carrying into effect the resolutions, and prosecuting the surveys for the respective works, has spared neither personal toil, nor studious investigation" (Alexander, page 3). This was essentially a series of surveys for a network of proposed canals linking the states of Virginia, Maryland and Delaware by A Joint Board of Commissioners of the States of Delaware, Maryland, and Virginia, which Alexander undertook on behalf of Maryland. Neither Virginia nor Delaware considered further work in their states necessary, and so by the end of 1835 the whole commission was dropped. In his "Report of the Engineer & Geologist, in relation to the New Map, to the Executive of Maryland" published in Annapolis in 1836, Alexander explains his commission, details the work he has accomplished and makes very clear his disgust and displeasure at having wasted a year's work on a project likely never to be completed, especially when he could have been progressing towards the completion of the much needed new map of Maryland. ALEXANDER, John Henry (1812-1867). Cape Charles and Lewes Canal. Map No. 1. [Baltimore:] Topographical Office. [Map] No. 2. Dec.r 1835. Single sheet (11 x 38 4/8 inches). A fine, detailed and accurate original manuscript map drawn in pen and black and red ink, showing the proposed route of the Cape Charles and Lewes Canal along Herring Creek to Trap Creek in red ink, and noting numerous homesteads, roads, and contour lines for the creeks. Signed by "J.H. Alexander" lower right. Provenance: Probable gift of Mrs Phillip T. Tyson to the Maryland Academy of Sciences in January of 1878; deposited at the Enoch Pratt Free Library, Baltimore from 1937, with their ink stamp in the lower right-hand corner and their 20th-century shelfmarks: Md. TH396 C3A6 Map and Md. Map X835 M1 .E3 P53 1835 Part 1. ALEXANDER, John Henry (1812-1867). Cape Charles and Lewes Canal. Map No. 2. [Baltimore:] Topographical Office. [Map] No. 3. Dec.r 1835. Single sheet (19 x 30 6/8 inches). A fine, detailed and accurate original manuscript map drawn in pen and red ink, showing the proposed route of the Cape Charles and Lewes Canal in red ink along White's Creek to Bear Trap between Muddy Neck to Miller's Creek and Middle Neck Gut and out into Little Bay, and noting numerous homesteads, roads, and contour lines for the creeks. Signed by "J.H. Alexander" lower right. ALEXANDER, John Henry (1812-1867). Cape Charles and Lewes Canal. Map No. 3. [Baltimore:] Topographical Office. [Map] No. 4. Dec.r 1835. Single sheet (15 x 38 inches). A fine, detailed and accurate original manuscript map drawn in pen and red ink, showing the proposed route of the Cape Charles and Lewes Canal in red ink along the Delaware Beach to Lewes and on to Rehooboth Bay, and noting numerous homesteads, roads, and contour lines for the creeks. Signed by J.H. Alexander lower right. ALEXANDER, John Henry (1812-1867). Profiles of the Several Routes Selected for the Canal connecting the Chesapeake and Delaware Bays by the Commissioners: No. 1. Lane for a Canal from Lewes Creek to Rehoboth Bay (in the State of Delaware); No. 2. Embracing the Line for a Canal from White's Creek to Assawoman Creek (in the State of Delaware). Kate Hunter 2011.

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. Folding lithographed table. 8vo. A very good copy in publisher's green cloth, headcap sensitively repaired, front free endpaper renewed, first quire a little ragged from opening, ownership inscriptions to half-title, some ms. marginalia to read free endpaper. Housed in a custom quarter morocco clamshell box. x, 490, [491-502 index], 32ads.pp. London, John Murray, John Murray originally printed 1250 copies of the book which ?caused a greater upheaval in man's thinking than any other scientific advance since the rebirth of science in the Renaissance? (Ernst Mayr). It is also considered ?the most influential scientific work of the 19th century? (Horblit) and ?certainly the most important biological book ever written? (Freeman). Despite its 490 pages, it was intended only as an ?abstract? of a far larger work. Yet for years Darwin had showed a marked reluctance to print anything on the subject of evolution. Although he developed his theory on the origin of the species in 1838, he communicated it to no one. In 1842 he drew up a rough sketch of the argument, expanding this into an essay only to be published in the event of his death. Once he had prepared the third part of the Geology of the Voyage of the Beagle for publication, he shelved the species question ?and started on eight tedious years' study? of living and fossil barnacles. His painstaking work on their structure and classification enabled him to acquire first-hand knowledge of the amount of variation to be found in nature. In April 1856 he described his theory of natural selection to Charles Lyell, and that summer began work on the book that Lyell urged him to write. On 18 June 1858 he received the shock letter from Alfred Russell Wallace which appeared to be ?a perfect summary of the views which he had worked out during the preceding twenty years? (DSB III, p.573). In a compromise that was fair to both, Darwin presented his own and Wallace's papers before the Linnean Society of London on 1 July 1858, and they were published together on 20 August of that year. Unable to squander any more time over the writing of his ?big book,? Darwin then set about writing the ?abstract? which we know as the Origin with the encouragement of Joseph Hooker. Its impact can hardly be overstated. Ernst Mayr writes in his introduction to the 1964 facsimile edition: ?The publication of the Origin of Species ushered in a new era in our thinking about the nature of man. The intellectual revolution it caused and the impact it had on man's concept of himself and the world were greater than those caused by the works of Copernicus, Newton, and the great physicists of more recent times . Every modern discussion of man's future, the population explosion, the struggle for existence, the purpose of man and the universe, and man's place in nature rests on Darwin.? A very good copy of this landmark work with the ads dated June, 1859. It was previously owned by the scientist Lancelot Albert Forscey, and John Rizzo Naudi. Dibner, Heralds, 199; Eimas Heirs, 1724; Freeman 373; Garrison-Morton, 220; Grolier Science, 32b; Horblit 23b; Norman, 593; PMM, 344; Sparrow Milestones, 49; Waller, 10786.

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.

Hardcover. Etat : Very Good. 1st Edition. 25 ORIGINAL PARTS, folio (22 1/8 x 15 1/4 in.; 56.2 x 38.7 cm). 367 exceptionally fine handcolored lithographic plates, most heightened with gum-arabic, by Gould, Henry Constantine Richter, Joseph Wolf and William Hart, most lithographed by Richter and Hart, printed by Walter or Walter and Cohn, 2 wood-engraved illustrations, part XXV with title-pages for volumes 1-5, 5-page list of subscribers, dedication leaf, preface, Introduction, list of plates for all 5 volumes, directions to the binder tipped in before front free endpaper; some minor spotting to the last plate of part VI and the first plate of parts XIII and XXV, very occasional isolated spots to other plates, occasional light mostly marginal spotting or foxing to text leaves, faint pigment offset from about 9 plates to accompanying text, bottom margin of Thrush plate in part IX bumped. Original pale green paper boards with wood-engraved vignette of a family of Grouse, dark green cloth spines; boards dust-soiled, some with age discoloration, ink splash on front cover of Part II, a few spines with splits or tears, spine cap of part XXV torn, corners and a few board edges bumped, a hinge or two slightly split. FIRST EDITION, AN EXTREMELY FINE, UNCUT COPY IN ORIGINAL PARTS. The parts were priced at three guineas each and contained 15 plates, except for part XXIV with 14 plates, and part XXV with the final 8 plates. The larger final part also contained the title-pages to each volume (I-V), dedication leaf, list of subscribers, preface, introduction, list of plates for each volume, and the binder's slip. As the work was so clearly intended for binding in five volumes, copies in original parts are scarce: in the past 50 years, only seven such sets have appeared at auction. "The most popular of all his works is always likely to be Birds of Great Britain" (Fine Bird Books), for which Gould found more subscribers than any of his other monographs, compelling him to increase the print run. In the preface Gould notes that some 280,000 plates had to be handcolored-given 367 plates per copy, about 750 copies were therefore produced. Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works by including nests, chicks, and eggs. In the preface Gould wrote that he "felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera-a thing hitherto almost entirely neglected by authors; and I feel assured that this infantile age of birdlife will be of much interest for science." The text is longer than in any of his other works, and many of the illustrations were prepared from freshly killed specimens. Wolf, who drew 57 of the plates, had accompanied Gould on an ornithological tour of Scandinavia in 1856, and was responsible for persuading Gould and Richter to adopt a livelier treatment of the illustrations. Catalogued by E. R. Muller REFERENCES: Ayer/Zimmer p.261; Fine Bird Books p.78; McGill/Wood, p. 365; Nissen IVB 372; Sauer 23; Tree, A Ruling Passion, pp. 194-204 PROVENANCE: WITH THE ORIGINAL RECEIPT FOR THE PURCHASE OF PARTS 9 TO 16 OF THIS SET TO ORIGINAL SUBSCRIBER WILLIAM PETERS, FRAS, FRGS of Ashfold, Crawley, Sussex, for 25 pounds and 4 shillings, SIGNED BY JOHN GOULD ON 1 MARCH 1870; Robert Calvert (engraved armorial bookplate on the front pastedown of each part and his sale, Christie's London, 6 June 2007, lot 21) (L4F15 I-16 I). Signed by Author(s).

5 volumes plus supplement. List of subscribers, list of plates in each volume; title-page of volume 1 with gutter repair and strengthening. Folio (21 1/2 x 14 1/2 in.; 54.6 x 36.8 cm.). 418 hand-colored lithographs after John Gould, H.C. Richter and W. Hart. Full contemporary green morocco, elaborate gilt border of acanthus and Greek key roll tools and 1 roll of shells in blind. Spine in 6 compartments, richily gilt with gilt dentelles, raised bands with 2 letterering pieces, yellow-coated endpapers, edges gilt; expertly rebacked. PROVENANCE: Red-ink stamp "Property of William and Flora Richardson Library" stamped on the front and rear paste-downs of each volume. First edition. "THE TROCHILIDAE OF GOULD IS HIS MASTERPIECE, AND MUST EVER REMAIN A FEAST OF BEAUTY AND A SOURCE OF WONDER.AN INCOMPARABLE CATALOGUE AND COMPENDIUM OF BEAUTIES" (Fine Bird Books). Gould maintained an obsessive fascination for Hummingbirds: "These wonderful works of creation my thoughts are often directed to them in the day, and my night dreams have not infrequently carried me to their native forests in the distant country of America" (Gould "Preface"). During his lifetime he identified more than 400 species of Hummingbird, Linneaus, by comparison, having only identified 22. Gould famously exhibited his personal collection (from which the plates in this monograph are drawn) at the Great Exhibition of 1851 in the Zoological Gardens in Regents Park, and one of his revolving displays of these tiny birds with their "jewel-like glittering hues" (Gould "Preface") can be seen currently at the Yale Center for British Art as part of their exhibition "Endless Forms": Charles Darwin and the Natural Sciences. As a result Gould's "masterpiece [is] an incomparable catalogue and compendium of beauties" ("Fine Bird Books"). Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds from the east began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volume Gould initiated a format of publishing that he was to continue for the next fifty years, although for future works he was to write his own text. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than 300 scientific papers. "His hand-coloured lithographic plates, more than 3300 in total, are called 'Gould plates'. Although he did not paint the final illustrations, this description is largely correct: he was the collector (especially in Australia) or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings. The design and natural arrangement of the birds on the plates was due to the genius of John Gould, and a Gould plate has a distinctive beauty and quality. His wife was his first artist. She was followed by Edward Lear, Henry Constantine Richter, William Matthew Hart, and Joseph Wolf" (Gordon C. Sauer for DNB). Anker 177, 182; Diane Donaldson "Pict.

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.

Hardcover. Etat : Very Good. 1st Edition. 5 volumes. Folio (21 4/8 x 14 4/8 inches). 367 hand-colored lithographs after John Gould, Josef Wolf, and H.C. Richter (4 plates at end of volume IV with some spotting). Contemporary green morocco gilt, all edges gilt, by Bickers and Son. Provenance: 19th-century engraved bookplate of the Barons Egerton of Tatton on the front paste-down of each volume; 20th-century bookplate of C.J. Coldeway on the front paste-down of each volume. "The most popular of all his works is always likely to be Birds of Great Britain" ("Fine Bird Books") First edition. Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works, including nests, chicks and eggs: "I also felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera - a thing hitherto almost entirely neglected by author's, and I feel assured that this infantile age of birdlife will be of much interest for science." (Gould "Preface" to "Introduction", 1873). Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volume Gould initiated a format of publishing that he was to continue for the next fifty years, although for future works he was to write his own text. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than 300 scientific papers. "His hand-coloured lithographic plates, more than 3300 in total, are called 'Gould plates'. Although he did not paint the final illustrations, this description is largely correct: he was the collector (especially in Australia) or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings. The design and natural arrangement of the birds on the plates was due to the genius of John Gould, and a Gould plate has a distinctive beauty and quality. His wife was his first artist. She was followed by Edward Lear, Henry Constantine Richter, William Matthew Hart, and Joseph Wolf" (Gordon C. Sauer for DNB). Anker p. 60; "Fine Bird Books"; Nissen 372; Sauer 23; Tree "The Ruling Passion of John Gould", p. 207; Wood p. 365; Zimmer p. 261. Catalogued by Kate Hunter.

Hardcover. Etat : Near fine. First. First edition. London: Taylor and Francis for the Author, 1862-1873. Five volumes. Folio (21 ¾" x 14 ¾", 553mm x 375mm). With 367 hand-colored lithographed plates, most heightened with gum arabic, after John Gould, Joseph Wolf, H.C. Richter and William Hart. Printed by Walter or Walter & Cohn. Two wood-engraved text illustrations, dedication leaf, 5-page list of subscribers. Bound in contemporary half green morocco over green cloth, with triple gilt fillets at the edges of the morocco. On the spine, 6 raised bands. Triple gilt fillets top-and-bottom in the panels. Title gilt to the second panel, number gilt to the fourth panel. Marbled endpapers. All edges of the text-block gilt. Some rubbing at the extremities. With light occasional spotting, chiefly marginal, to the text and a flew plates. Title-page of vol. IV starting. End-papers foxed. Altogether near fine. With the bookplate of the California Academy of Sciences to the front paste-down of each volume. Ownership signature of A. Hamel 1896 (?) to the verso of the first free end-paper of each volume. Gould's most popular of his large-format multi-volume ornithological works, with the greatest number of subscribers. Even more than in his inaugural set, the Birds of Europe (completed 1837), Gould's challenge was to circumvent the conception of British birds as ordinary or unremarkable. He had to bring the birds that circled overhead in front of his readers' eyes with freshness and striking beauty. The complexity of the scenes grew, with tableaux of nests, chicks and eggs joining the usual modes of depiction. Gould wrote in the Preface that he "felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera - a thing hitherto almost entirely neglected by authors; and I feel assured that this infantile age of birdlife will be of much interest." The text is longer than in any of his other works, and many of the illustrations were prepared from freshly-killed specimens. Wolf, who drew 57 of the plates, and was responsible for persuading Gould and Richter to adopt a livelier treatment of the illustrations. Ayer/Zimmer p. 261, Fine Bird Books p. 102, Mullens & Swann p. 242; Nissen IVB 372, Sauer 23, Wood p. 365.

First edition, first state; 2 vols; folio (53 x 35 cm); half-titles, 145 etched plates after illustrations by Jacques Barraband printed in colour and finished by hand, table of contents to end of each vol., occasional light spotting, mostly to margins; contemporary burgundy straight-grained morocco gilt, upper and lower panels with wide gilt borders of palmettes, enclosing Meander roll in blind and inner gilt panel, gilt spine in 7 compartments, all edges gilt, minor restoration to corners and spine caps, each vol. housed in red cloth clamshell case with contrasting black calf lettering-pieces to spine. First edition in the preferred folio format of this celebrated work, which stands in the front rank of ornithological books. An excellent copy of Levaillant's celebrated Histoire Naturelle des Perroquets, illustrated with 145 hand-finished etched colour-plates after original drawings by the French artist Jacques Barraband (d.1809), often considered one of the most beautiful colour-plate books of Napoleonic France. This copy has the title of volume one in its first state, with the date An IX (1801). 'After he had made himself Emperor, it was part of Napoleon's deliberate policy to initiate a series of magnificent publications that would vie with those undertaken to the orders of Louis XIV. These were sent as presents to crowned heads, men of science, and learned bodies, in evidence of the splendours of the Empire. In this manner many glorious books came into being, and it is in this light that we should see Redouté's Les Liliacées and his two works on the flowers of La Malmaison. The works of Levaillant owe their sumptuous character to the same impetus' (Fine Bird Books). Levaillant (1753-1824) inherited a passion for observation and travel from his childhood in Dutch Guiana, where his father was the French consul. He returned to France with his family, where he eventually became a merchant of natural history specimens. At 27, he travelled to Southern Africa with the Dutch East India Company, likely sponsored by Jacob Temminck to collect specimens for his collection. Levaillant was among the first explorer-naturalists to venture into the field to see and study birds in their natural habitats, resulting in some of the finest ornithological works ever produced. He was also a pioneer of travel writing; his colourful accounts of his journeys describe him as wearing 'court suits of "Blue-Boy" silk, with white gloves, ostrich-plume hat, and lace ruffs' to show respect for the animals he hunted (Fine Bird Books). He writes extensively about his close relationships with African companions and condemns the Dutch for their violence against Indigenous people in the region. His work is also notable for his use of French descriptive names for birds such as La Perrouche à face bleue, as opposed to the standard binomial nomenclature introduced by Carl Linnaeus. The artist Jacques Barraband had honed his skills as a draughtsman at the renowned Gobelins tapestry manufacturer in Paris, allowing him to create illustrations unparalleled in their delicacy and beauty. His drawings for the present work were printed in colour by Langlois, the great master of French colour printing in the early 19th century. The names of three of the birds described commemorate the artists involved in the production of the plates: Barraband, Langlois, and Bouquet, who executed the engravings. Anker 303; Fine Bird Books p.90; Zimmer p.392.

Parts II-III only (of three) in one volume, folio (21 1/2 x 14 1/4 in.; 54.6 x 36.2 cm). 25 handcolored lithographed plates (Part II = 12; Part III = 13) by and after John Gould, H. C. Richter, and W. Hart, printed by Charles Hullmandel and heightened with gum arabic, all relevant text to the two parts present, Part III complete with general title, dedication, preface, and list of subscribers; 3 small stain in background of Trogon Melanocephala, short tear at bottom of Trogon Collaris, and long vertical crease to text for Trogon Meriodionalis in Part II, long vertical crease to title-page, dedication and text for Trogon Macroura in Part III. Contemporary green morocco elaborately paneled gilt with two bands of foliate roll tools enclosing a band of interwoven drawer handle tools, original tan card upper wrappers bound in, spine richly gilt in 7 compartments (2 lettered), yellow-coated endpapers, gilt dentelles, edges gilt; small tears to covers recolored, hinges strengthened, front free endpaper slightly cockled. JOHN JAMES AUDUBON'S COPY OF GOULD'S FIRST EDITION OF THE TROGONS, with his ownership inscription on the top of the first wrapper dated "March 21st 1836 | London." A GIFT FROM ONE GREAT ORNITHOLOGIST TO ANOTHER: before Gould left for Australia, he presented Audubon with the two parts of the Trogonidae, Icones avium, and the two rare cancelled parts of the Birds of Australia and Adjacent Islands. Audubon also underlined a passage opposite the "Trogon Narina," plate that refers to the young chicks: "at the moment the young are excluded [from the nest] they take flight and follow their parents for a considerable period" and penciled the following marginal note: "This beats my little humming Birds which cannot fly until they are one week old. Pray show this Paragraph to Charles Watterton 'Esquire' of Walton Hall." Watterton was an English naturalist and explorer who had invented a new method of taxidermy. Additionally, there is an explanatory typescript note dated 16 March 1950 and signed by Audubon's great grandson, Leonard B. Audubon: "The books were given to my great grandfather, John James Audubon, an American Ornithologist and Painter. Gould at the time was painting along similar lines, and they exchanged copies of their works. These particular books were sent out to Australia forty years ago, and were held in the Audubon family until this year when Mr. Hallstrom purchased the books from the great grandson of John James Audubon." A fact which is attested to by the presence of the bookplate of Audubon's granddaughter, Maria R. Audubon on the verso of the second card wrapper. The bookplate bears the image of a turkey modelled after her grandfather's incised carnelian signet ring and the motto "America My Country." Audubon had subscribed to Gould's first major work, A Century of Birds from the Himalaya Mountains (1831-32) and his first multi-volume monograph, The Birds of Europe (1832-37). In his preface for the Trogons, Gould credited Audubon and twenty others "for the warm interest they have at all times taken in the present work." The first edition of the Trogons introduced twelve species new to science. Largely inhabitants of tropical rainforests, they got their name from the Greek word ("Trogon") for nibbling, referring to the way in which they gnaw holes in trees to make their nests. REFERENCES: Anker 171; Ayer/Zimmer p. 253; Fine Bird Books (1990) p. 101; Nissen IVB 381 PROVENANCE: John James Audubon (inscription of Part II wrapper dated "March 21st 1836 | London"; Maria R. Audubon (1843-1925), daughter of John Woodhouse Audubon (bookplate on the verso of the second wrapper); Leonard B. Audubon (typescript note signed "L.B. Audubon 16.3.50" on verso of front free endpaper); Mr. Hallstrom (purchased from the Audubon family, 1950).

No Binding. Etat : Very Good. THE FIRST MODERN SCIENTIFIC SURVEY OF THE PATAPSCO RIVER AND CHESAPEAKE BAY Single sheet (88 x 40 4/8 inches, laid down on linen, trimmed with silk). An exceptionally fine, large and beautiful original manuscript map of the Patapsco River from the City of Baltimore to the mouth of the Charles River in Chesapeake Bay, drawn in black and red ink and colour wash, noting all river outlets, points, and depths, with a long explanatory inscription, and inset of "Loading marks." and "Table of Triangulation". Signed by Sherburne, Brantz and Wirgman. Provenance: Probable gift of Mrs Phillip T. Tyson to the Maryland Academy of Sciences in January of 1878; deposited at the Enoch Pratt Free Library, Baltimore from 1937, with their ink stamp and shelfmarks. A beautiful map of the Patapsco River and part of the Chesapeake Bay, principally to give definitive soundings of the river and the bay, which are meticulously recorded, with a red line indicating the "loading marks and ranges used for ships of heavy draft .". These soundings were made by Sherburne, a surveyor with and a Lieutenant in the US navy from about 1813-1827. The survey was conducted by Lewis Brantz, a local merchant, who had travelled extensively and published a memoir of his travels in the western states of America: "He devoted himself, for a long time, to surveying the Patapsco river, its branches, and part of the Chesapeake Bay; the engraved map of which is now found, by expert seamen, to be the best that has hitherto been prepared" (Carnegie Library Pittsbugh). He was instrumental in achieving the building of Maryland's first lighthouse project, recommending that lighthouses be place at the mouth of the Patapsco River at Bodkin Point, North Point and Sparrows' Point. He was president of the Philadelphia and Baltimore Railroad, which he helped to complete in January of 1838, after which he died suddenly. (Monthly Bulletin of the Carnegie Library of Pittsburgh, volume 22, 1917). [WITH:] SHERBURNE, Jonathan W. (fl. 1813-1827), BRANTZ, Lewis (1766-1838), and WIRGMAN, Charles (1781-1821). This Survey of the River Patapsco and part of Chesapeake Bay Instituted by the Marine Insurance Companies of Baltimore and executed at their expense, under the direction of Lewis Brantz, is respectfully dedicated by them to James Monroe. Baltimore: F. Lucas Jr., 1819 (published version of the above). [WITH:] SHERBURNE, Jonathan W. (fl. 1813-1827). Annapolis Harbour & Roads Survey'd by Jonathan W. Sherburne. U.S. Navy. [Baltimore, ca 1817]. [with:] SHERBURNE, Jonathan W. (fl. 1813-1827). Annapolis Harbour & Roads Survey'd by Jonathan W. Sherburne. U.S. Navy. [Baltimore: F. Lucas Jr., 1819]. Single sheet (10 4/8 x 16 inches to the neatline, full margins showing the platemark). Fine detailed and accurate engraved map with original hand-colour wash, an inset from a larger plate, which has been obscured during printing. Single sheet (24 x 37 inches to the neatline, sheet size 25 3/8 x 38 inches, mounted on linen). A fine, detailed and beautiful original manuscript map drawn by John Frederick Geodecke after Sherburne, drawn in pen and black ink with colour wash, showing Annapolis, Fort Madison, and Chesapeake Bay, and decorated with a compass rose, trees, houses, and soundings in the bay, with an inset "Tables of Triangles used in constructing this chart" (one or two chips to edges). Catalogued by Kate Hunter.L63rdffloorhallway and 65E3G.

[Group of 120 plates from Animal Locomotion. An Electro-Photographic Investigation of Consecutive Phases of Animal Movements]. Philadelphia: The University of Philadelphia, 1887. Folio. 120 collotype plates by Muybridge, printed by the Photo-Gravure Company. Includes the following plate numbers: 1, 4, 6, 8, 9, 10, 24, 46, 73, 134, 166, 175, 176, 178, 179, 180, 181, 182, 183, 185, 198, 213, 223, 231, 239, 241, 247, 251, 254, 259, 269, 271, 279, 284, 286, 287, 288, 292, 293, 294, 300, 302, 311, 314, 317, 318, 321, 322, 323, 324, 326, 327, 328, 333, 340, 342, 343, 345, 349, 351, 352, 392, 393, 394, 395, 397, 399, 400, 401, 403, 405, 408, 410, 412, 414, 418, 420, 434, 436, 446, 465, 466, 468, 476, 477, 478, 480, 481, 484, 486, 489, 490, 493, 496, 497, 502, 503, 505, 507, 509, 511, 517, 518, 519, 520, 521, 522, 523, 525, 526, 527, 537, 538, 539, 543, 549, 556, 561, 573, and 666. 1 vols. Folio. A Major Landmark in photography. The first edition of this rare and important photographic work is a landmark in the evolution of the medium, and in the role of mechanical reproduction on the fine arts. Although the complete set of images for Animal Locomotion totaled 781 plates in eleven portfolios, the prohibitively high cost of $600 resulted in the purchase of only thirty-seven complete sets of all 781 plates. However, as Muybridge explains in the Prospectus, the makeup of the subscription sets was left entirely up to each subscriber, as long as at least one hundred plates were purchased: "One hundred Plates of illustrations will constitute a copy of the work. These one hundred plates, the Subscriber is entitled to select from those enumerated in the subjoined catalogue. The 781 Plates described in the Catalogue comprise more than 20,000 figures of men, women, and children, animals and birds, all actively engaged in walking, galloping, flying, working, playing, fighting, dancing, or other actions incidental to every-day life, which illustrate motion and the play of muscles.Subscribers desiring a greater number of Plates than the one hundred for which they subscribe, will be entitled to obtain such additions, and at the same proportionate rate of payment [one dollar per plate]." Thus every Subscriber set of Animal Locomotion is different in its composition, depending on the interests and tastes of the subscriber. In addition to choosing their own images, subscribers were also able to order by "subjects" (i.e. men, women, children, etc. indicating for each the various states of dress or undress), with Muybridge selecting the images. Eadweard Muybridge (1830-1904) was one of the great photographic innovators of the 19th century. Born in England, he came to San Francisco in 1855 and worked as a bookseller. After a serious accident in 1860, he returned to England, and changed his vocation to photographer. Returning to the United States in 1867, he built his reputation on photographs of San Francisco, Yosemite, and other western locales, both as a private photographer and working for the U.S. Government. Beginning in 1872 Muybridge, at the behest of the railroad magnate Leland Stanford, experimented with a sequence of photographs of a galloping horse that proved that all four of the animal's hooves were off the ground at the same time. By 1878 he had developed the ability to produce series of photographs freezing the motion of moving figures. These studies were published in 1882 as The Horse in Motion, which led to a break between Stanford and Muybridge, who felt he had not been given proper credit. Now committed to working on his motion studies, Muybridge found a new sponsor in the University of Pennsylvania, and moved to Philadelphia in 1883. "Largely owing to the advocacy of the esteemed artist and faculty member Thomas Eakins, Muybridge was engaged to conduct a series of locomotion studies at the University of Pennsylvania from 1884 to 1885. There he exposed more than 100,000 photographic plates in locomotion studies of men, women, children, beasts, and birds. The initial publication of this work in 1887 was comprehensive but prohibitively expensive" (ANB). Eakins worked with Muybridge as one of his assistants for part of this time. The photographs showed sequences of several dozen photographs on each plate. The human models, of both sexes, were shown nude or with minimal clothing engaged in various activities, from walking, running, leaping and throwing things to climbing stairs, carrying objects, engaging in various kinds of work, and many forms of athletic activity. Animals, drawn from the Philadelphia Zoo, are shown moving in various ways as well as carrying loads. The entire project was a comprehensive catalogue of human and animal motion. Muybridge's 1860 accident, which involved a blow to the head and possible brain injury, evidently changed his personality as well as his career. He became eccentric and explosive (in 1874 he killed his wife's lover, but was acquitted on the grounds of justifiable homicide) and also shed many inhibitions. His photography and publication of nude models was remarkable for its day. Many of the figures in Muybridge's work feature full-frontal nudity, both men and women, as well as some children. After the publication of Animal Locomotion, Muybridge worked for some time to promote commercial applications for his work before returning to England in 1894. He died there a decade later. Muybridge's work in sequential photography quickly had a major impact on the fine arts of his day, and laid the groundwork for motion pictures. His images remain exciting and vibrant today. In a search of OCLC, we locate nineteen sets that are complete or mostly so (more than 700 plates present). A further twenty-nine copies are located containing anywhere from 75 to 200 plates (copies of around 100 plates being the most common), and twelve more records with indeterminate or minimal holdings. An incredibly important and handsome production, key in the history of science and photography. Ro.

First edition. DAGUERREOTYPE - "THE BEGINNINGS OF PHOTOGRAPHY" (HORBLIT) - THE TRUE FIRST PRINTING. First edition, the true first issue (see below), of Daguerre's exposition of his photographic process, "the beginnings of photography" (Horblit); this is an excellent unrestored copy in original printed wrappers, and very rare in this condition. "Perhaps no other invention ever captured the imagination of the public to such a degree and conquered the world with such lightning rapidity as the daguerreotype" (Gernsheim, p. 71). "The daguerreotype is a photographic image with a mirror-like surface on a silver or silver-coated copper plate. A unique photograph, the daguerreotype is not produced from a negative, and the final image appears either positive or negative depending on the angle of reflected light" (Hannavy, p. 365). Daguerre (1787-1851), a gifted set designer and creator of the famous Diorama, a picture show based on lighting effects, began experimenting in the 1820s with fixing the images of the camera obscura on silver chloride paper. His lack of success stimulated his interest in the heliographic method invented by Nicéphore Niépce (1765-1833), who had produced the first successful photographic image in 1826 or 1827 on a pewter plate coated with bitumen of Judea dissolved in oil of lavender, and in 1829 Daguerre succeeded in persuading the reluctant Niépce to become his partner. After Niépce's death in the spring of 1835, Daguerre serendipitously discovered a quicker method of exposing and developing the Niépcian image through the application of mercury vapour. Using this method, with common table salt as the fixative, he produced his first successful permanent photographic image in 1837. On August 19, 1839 the scientist-politician François Arago (1786-1853) made a full announcement of the new process to a packed house at a joint meeting of the Académies des Sciences and des Beaux-Arts at the Institut de France. According to Beaumont Newhall, the first issue of Daguerre's manual, published by order of the government, was released on or about 20 August 1839 and bears the imprint of Giroux et Cie, and Delloye; only two institutional copies of this issue are known. Pierre Harmant, however, has convincingly demonstrated that Newhall was in error in assigning the Giroux issue priority of publication, and that the present issue, released for sale on 14 September, printed by Béthune et Plon, and with the imprint of Susse Freres, Editeurs, and Delloye, was in fact the true first publication of Daguerre's Manual, as it was called (see below for further details of Harmant's argument). A total of 39 reprints, new editions, and translations appeared in the following 18 months. The great demand accounts for the profusion of issues of the first edition: seven are recorded, all from the same basic setting of type. Of these the first four differ in the booksellers' names alone. Only three copies of this printing in unrestored original printed wrappers have appeared at auction since Honeyman: those of Richard Green (Christie's New York, 2008), Marie-Thérèse & André Jammes (Sotheby's Paris, 2002), and Meyer Friedman (Sotheby's New York, 2001). The Norman copy, which realised $40,250 in 1998, was rebound with the original wrappers bound in, the wrappers "defective and laid down" (Norman sale catalogue). "Louis-Jacques Mandé Daguerre was born on 18 November 1787 at Cormeilles-en-Parisis. His childhood was spent at Orleans, where his father was employed as a clerk on the royal estate. Showing talent for drawing, the boy was apprenticed to an architect at the age of thirteen, and three years later became a pupil of Degotti, scene painter at the Paris Opera. Later he made himself independent and designed the decor for the productions of several Paris theatres. He also collaborated with Prevost on a number of large panoramas - a kind of show which enjoyed immense popularity in the last decade of the eighteenth and first half of the nineteenth centuries . In 1822 Daguerre associated himself with the painter Charles Bouton (an assistant of Prevost) in a new venture, the Diorama, a picture show with changing light effects which aroused astonishment and admiration by its perfect illusion of reality" (Gernsheim, p. 65). The realism of the paintings in the Diorama, which so impressed Daguerre's audiences, was achieved by tracing images projected by a camera obscura. "Was it not natural that he, like Fox Talbot some years later, should have wished to find a method by which the fugitive image, which he was so laboriously tracing, could be made to delineate itself? Obsessed by this idea, Daguerre equipped a laboratory at the Diorama near the Place de la République in Paris, and there for several years he carried out mysterious experiments, shutting himself in his workroom for days on end. The famous chemist, J. B. Dumas, relates that Madame Daguerre consulted him one day in 1827 as to whether or not he thought it possible that her husband would be able to fix the images of the camera. 'He is always at the thought; he cannot sleep at night for it. I am afraid he is out of his mind; do you, as a man of science, think it can ever be done, or is he mad?' 'In the present state of knowledge', replied Dumas, 'it cannot be done; but I cannot say it will always remain impossible, nor set the man down as mad who seeks to do it'" (ibid., p. 66). Daguerre's fortunes changed only when he came into contact with Nicéphore Niépce. "Niépce's first experiments with light-sensitive materials placed in a homemade camera obscura were conducted in 1816. He succeeded in taking impressions of views out of his workroom window using paper covered with muriate (or chloride) of silver, but the images were not permanent. Moreover, they were negative images, and attempts to print them in the positive were not successful . It was at this point that he began to experiment with bitumen of Judea as a light-sensitive coating. The bitumen, he had discovered, har.

couverture souple. - S.n., s.l. 1887, divers, 11 pages sur 7 feuillets pour les manuscrits + 4 feuillets pour la transcription. - | Uniques archives en mains privées du fondateur du libéralisme et de la science économique moderne | Exceptionnel ensemble d'archives manuscrites et imprimées - le dernier en mains privées - du fondateur du libéralisme et de la science économique moderne, Léon Walras, conservées et annotées par William Jaffé. L'un des 5 plus importants ensembles d'archives de celui que Schumpeter considérait comme le « plus grand de tous les économistes ». Cet ensemble de 42 documents d'importance, comprenant des manuscrits autographes complets, des épreuves corrigées, des tirés à part abondamment annotés, et des ouvrages imprimés enrichis, fut adressés par Aline Walras puis Gaston Leduc à William Jaffé qui ajouta sur certain ses notes autographes et établit grâce à eux la première traduction des Eléments d'Economie politique Pure. Léon Walras, inventeur de la théorie de l'équilibre économique, a en effet bouleversé la conception classique en imposant des équations mathématiques pour expliquer et influencer l'économie. Concomitamment avec Jevons et Menger, il fonde la théorie marginaliste, qui deviendra un pilier de la Science économique du XXeme siècle, comme le notait déjà à Milton Friedman, dans son essai consacré à Léon Walras à l'occasion de la traduction par Jaffé des Elements of Pure Economics : « it belongs on [any student's] "five foot shelf." [.] A person is not likely to be a good economist who does not have a firm command of Walrasian economics » (Milton Friedman) Malgré l'importance de la pensée de Léon Walras, les documents originaux, autographes ou imprimés du fondateur de l'Ecole de Lausanne, sont d'une extrême rareté, tant en mains privées, qu'en ventes publiques ou en institutions. *** PROVENANCE ET HISTOIRE DES ARCHIVES WALRAS Fondateur de la Science économique avec Stanley Jevons et Carl Menger, on lui attribue la paternité du Libéralisme, omettant généralement son engagement social et humaniste. La théorie de l'équilibre économique élaborée par Walras a en effet bouleversé la conception classique de l'Economie qui, depuis Smith, Riccardo et Marx fonde la valeur sur le travail nécessaire à la production et sur l'opposition des classes sociales. Malgré l'importance de la production de Léon Walras, les documents originaux, autographes ou imprimés de l'un des plus importants économistes de la fin du XIXème siècle sont d'une extrême rareté, tant en mains privées, qu'en ventes publiques ou en institutions. Cette extrême rareté a contribué à une méconnaissance du nom de Walras, cependant que les co-fondateurs de la théorie marginale, sont souvent présentés comme ses prédécesseurs. Or comme l'écrit l'historien de la pensée économique Mark Blaug : « La Théorie de l'économie politique de Jevons (1871) n'a pas été bien accueillie lors de sa parution, mais elle a été lue. Les Principes d'économie de Menger (1871) furent à la fois lus et bien accueillis, du moins dans son propre pays. Mais l'ouvrage en deux parties de Walras, Éléments d'économie pure (1844-1877), fut monstrueusement négligé partout. (.] Walras s'est fixé une tâche qui allait au-delà de Jevons et Menger, ses co-découvreurs de la théorie de l'utilité marginale, à savoir écrire et résoudre le premier modèle multi-équationnel d'équilibre général sur tous les marchés. De plus, Walras allait bien au-delà de Jevons en employant un mode d'exposition mathématique, ce qui suffisait à effrayer la plupart de ses lecteurs contemporains. Mais alors que Jevons et Menger sont désormais considérés comme des monuments historiques, rarement lus uniquement pour eux-mêmes, l'appréciation posthume de l' uvre monumentale de Walras s'est si nettement développée depuis les années 1930 qu'il est peut-être aujourd'hui l'économiste du XIXe siècle le plus lu après Ricardo et Marx, notamment depuis la traduction des Éléments en anglais en 1954. » (1) Ce n'est en effet que gr.

4to (235 x 185 mm). 177 pp. Contemporary wrappers (wanting spine). Handwritten title and name on front cover. An early 19th century Egyptologist's fascinating travel notes documenting his journey through the Nile valley, profusely illustrated with more than 230 sketches showing hieroglyphs and Greek and Coptic inscriptions. - At the age of 27, Louis de Vaucelles undertook an expedition to Egypt to explore the banks of the Nile from Cairo to Aswan. He set out from Marseille on 27 January 1826 and reached the second cataract on 27 May. In his journal he accurately reproduces all cartouches and inscriptions of the temples, tombs and palaces visited up to the first cataract south of Aswan. He gives the condition of monuments (sometimes mere ruins), identifies traces of Christian chapels and churches, translates hieroglyphs dedicated both to pharaohs and Roman emperors, indicates (in cursive script) several Arabic words and names, and mentions the orientalists who preceded him: his mentor Champollion as well as Denon, Maillé, Belzoni, and Niebuhr. Among the temples and sites he describes are Ipsamboul, Edfu, Dakka ("un des mieux conservés"), Thèbes ("Louqsor"), Karnak, Denderah Assouan, Elephantine and Philae as well as the pyramids of Giza, Cleopatra's Needle, the Sphinx (the head of which is said to be "extrêmement mutilée"), Alexandria, and the Nile Delta. - The final fifty-odd pages are devoted to contemporary Egyptian cities, their people, and their Arab, Jewish and Coptic traditions. As Vaucelle notes, Coptic Christians are free to practice their religion due to the unrivalled tolerance of the Muslim faith ("tant il est vrai qu il n y a pas de religion plus tolérante que la religion mahométane"). He also provides details of medical operations such as castration, circumcision, and excision, as well as of the "Kalisch" festivities held in Cairo at the time of the opening of the dikes. - Louis de Vaucelles de Ravigny was trained by Jean-François Champollion, who in 1824 published his "Précis du système hiéroglyphique des anciens Égyptiens". Apart from the present travel journal he also produced a "Chronologie des monuments antiques de la Nubie" (1829), based on the interpretation of the royal legends contained in the hieroglyphic reliefs, a book in which he pays tribute to the German egyptologist François-Christian Gau. - Slight fraying to edges; wants wrappers' spine. A fine survival.

THE FREDERICK-TOWN TO PENNSYLVANIA RAILROAD After graduating from St. John's College Annapolis in 1827 Alexander spent the next four years studying law, although he is not recorded as having taken the Bar exam. Instead he began working for the Baltimore and Susquehanna Railroad founded in 1828 with plans to build directly north to the Susquehanna via York, Pennsylvania, through rugged, hilly country. This plan was soon abandoned in favour of a less controversial route via Owings Mills and Westminster. As part of his work for the railroad, Alexander performed surveys and made maps of the line. This experience, and his strong academic achievements, led to Alexander's appointment as the Chief Engineer of Maryland in 1833 and his commission to create a complete map of Maryland. [ALEXANDER, John Henry (1812-1867)]. Map of the Proposed Rail Road from Frederick Town to Emmitsburg". Baltimore: Ed. Weber, [ca 1832]. Single sheet (11 2/8 x 22 4/8 inches to the neatline, sheet size 14 4/8 x 23 2/8 inches, mounted on linen). Fine lithographed map of the area between Frederick Town and Emmitsburg near the border with Pennsylvania, surveyed by Alexander, with profiles of the two proposed lines: the Catochin Line and the Monocany Line along the bottom edge. Provenance: Probable gift of Mrs Phillip T. Tyson to the Maryland Academy of Sciences in January of 1878; deposited at the Enoch Pratt Free Library, Baltimore from 1937, with their ink stamp in the lower right-hand corner and their 20th-century shelfmarks: Md TH2771 .MSA6 and Md Map X837 F C3 P3 1837. [ALEXANDER, John Henry (1812-1867)]. A fine original manuscript map of part of Frederick County, including Frederick-Town and principal features between Point of Rock's and Parr's Ridge. [Baltimore, ca 1832]. Two sheets joined vertically (30 x 52 inches). A fine, detailed and accurate original manuscript map drawn in pen and black and red ink, showing towns, roads, rivers, creeks, contours and survey points. [ALEXANDER, John Henry (1812-1867)]. A fine original manuscript map of part of Frederick County, east of South Mountain and North of Adamsville, with details of the course of the Monocacy River and its tributaries. [Baltimore, ca 1832]. Two sheets joined vertically (30 x 52 inches). A fine, detailed and accurate original manuscript map drawn in pen and black and red ink, showing towns, roads, rivers, creeks, contours and survey points of the region east of the Catoctin and South Mountains. [ALEXANDER, John Henry (1812-1867)]. A fine original manuscript sketch-map of part of Frederick County, east of South Mountain and North of Adamsville, with details of the course of the Monocacy River and its tributaries. [Baltimore, ca 1832]. Single sheet (30 x 52 inches). An original manuscript sketch-map drawn in pen and black and red ink, showing towns, roads, rivers, creeks, contours and survey points of the region east of the Catoctin and South Mountains (lower left-hand corner torn away with loss, repaired). Kate Hunter 2011.

"DARWIN, Charles. Autograph letter signed. WITH: On the Origin of Species by Means of Natural Selection, or The Preservation of Favored Races in the Struggle for Life. Kent, United Kingdom, November 24, [1869] and New York: D. Appleton, 1870. Single sheet of unlined paper, measuring 5 by 8 inches folded; pp. 4. Housed in a custom cloth portfolio. WITH: Octavo, original purple cloth. Housed together in a custom clamshell box. $125,000.Very rare and desirable signed autograph letter from Charles Darwin to American publisher D. Appleton's London agent, Charles Layton, agreeing to a second American edition of the Origin of Species, with a slightly raised price, but requiring that Appleton also commit to an American edition of The Descent of Man. Accompanied by the second American edition of Origin of Species in original cloth.The letter, written entirely in Darwin's hand and dated "Nov. 24th. Beckenham [Kent]," reads in full: "Dear Sir, I am much obliged by your note. You say that Messrs. Appleton 'would also like to have a set of stereotyped plates of new edit of Origin of Species on same terms.' I am not sure that I understand this, for I have not permitted the Origin to be stereotyped in England. If it means that Messrs. Appleton will print a new edition in Stereotype Plates (or in common type which would be much preferable) I gladly agree to his terms for this edition & for my next book. I have long earnestly wished for a new edition of the Origin in the United States, as it is 92 pages longer than the 2nd edition, besides endless small though important corrections. I feel sure that the continued large sale of this book in England Germany & France has depended on my keeping up each edition to the existing standard of science. I hope I am right in supposing that Messrs. Appleton are willing to print in some form a new edition; for though unwilling to act in a disobliging manner toward them I had resolved soon to write to Professor Asa Gray to ask him to find some publisher who would print the new edition of the Origin, on condition of my supplying him with the sheets of my new book as they printed & which book will probably have a large sale. Will you be so kind as to let me hear soon how the case stands; & I should like in case the answer is favourable to send in M.S. half a dozen small corrections for the Origin. I must inform you that although Mr Murray has inserted a notice of my new book, I do not suppose it will be printed for nearly a year, although a considerable portion is ready for the press. Dear Sir, yours faithfully, Ch. Darwin. You will understand that I cannot agree with Mr Appleton about my new book, unless he is willing to print a new edit of Origin. The price of the latter might fairly be raised a little; as Mr Murray has by 1s. & it shd be advertised as largely added to & corrected."According to the Darwin Correspondent Project at Cambridge, the recipient of this letter was Charles Layton, the American publisher D. Appleton's London agent. This letter refers to details regarding the publication of a new American edition of the Origin of Species. Darwin begins by clarifying that fact, as the proposal was for a stereotyped American edition as Darwin had been resistant to stereotyping his work in England. Darwin may have seen the first U.S. edition, published in 1860 from stereotypes of the British second edition, and was aware of the decline in quality compared to conventional typesetting. In England, Darwin still wanted the best printing possible, while the overseas printing was of slightly less concern. In letter dated April 1869, Darwin had, in fact, approached Orange, Judd, & Co., who published the American version of Variation, about publishing a new American edition of the Origin. Here, however, Darwin only mentions potential correspondence with Asa Gray, a Harvard botanist with whom Darwin exchanged hundreds of letters. Darwin's fame in America largely rested on Gray's positive review of Origin in The Atlantic and his subsequent pro-evolution debates with zoologist Louis Agassiz, which Gray won handily. Darwin's decision to mention Gray here was likely meant to emphasize Darwin's influence in the American scientific community and to underline the scientific prominence of Darwin's American supporters. This letter indicates Darwin's willingness to go along with Appleton publication proposal despite that inquiry, for both this work and for his upcoming book, The Descent of Man. The Murray notice that Darwin refers to was an advance advertisement for Descent published in October of 1869. Descent, delayed as Darwin indicates, was not actually published until early in 1871. Appleton managed to publish the second U.S. edition, based on a corrected and expanded version of the fifth English edition, by 1870, before their publication of Descent in 1871. Darwin kept a proprietorial hand on all of his work: other editions were also receiving tweaks at the same time he was considering the Appleton proposal. For instance, Darwin mentions sending several corrections to the fifth English edition of Origin to improve its upcoming publication in French and German.This letter is accompanied by the second American edition of On the Origin of Species, the subject of the letter. "This, the most important single work in science, brought man to his true place in nature" (Heralds of Science 199). Darwin "was intent upon carrying Lyell's demonstration of the uniformity of natural causes over into the organic world In accomplishing this Darwin not only drew an entirely new picture of the workings of organic nature; he revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been taken" (PMM 344). Excerpts of this letter were published in Darwin's Correspondence, Volume 17. The book is labeled "Fifth Edition, With. Signed.

The Only Known Mathematical Manuscript of Alfred North Whitehead [Whitehead, Alfred North]. Mathmatical Manuscript Notebooks. Whitehead (1861-1947) Writing in manuscript. [Unsigned and undated, circa: 1900]. Two composition notebooks. Quarto (202 x 160 mm). 50 ff each, written primarily on rectos in black ink, with a few notes on versos, each page with approx. 15-20 lines of manuscript. Ruled paper self-wrappers, first and last leaves toned and worn,some chipping to edges,corners worn, lower right corner of last 2 ff in vol.I missing with some loss to text. Fragile. Two sequential notebooks, divided into three sections as follows: Part 1: 21 pp, on ff 1r-20r of first notebook. In black ink, written on versos. Treating Karl Weierstrass's 1858 "Über ein die homogenen Functionen zweiter Grades betreffen des Theorem." Part 2: 64 pp, on ff 24r-50r of first notebook, and 1r-32r of second notebook. Treating Karl Weierstrass's 1868 "Zu theorie der bilinearen und quadratischen Formen." Part 3: 15 pp, on ff 34r-47r of second notebook. Treating Fredinand Georg Frobenius' proof of Karl Weierstrass' theorem. WITH: WHITEHEAD, J[essie) M[arie). Autograph notebook signed, ("J.M. Whitehead"), 60 pp. Cloth-backed flexible boards. Being class notes for librarian/archivist school, majority written in short-hand. The three housed together in a full calf clamshell. The only knownsurviving mathematical manuscript by Alfred North Whitehead.Manuscript material by Whitehead has never come to public auction, and in fact, any manuscript material by him is of the utmost rarity, with even institutional holdings being very minimal. It is common academic tradition to leave one'sNachlassto a favored graduate student or in a scholarly archive so that it may be available to future scholars. Leibniz, Wittgenstein, Nietzsche, and Gauss are just a few examples of scholars who left behind extensiveNachlässe. Whitehead chose to eschew this long tradition, and upon his death, "His widow destroyed all of his manuscripts, as he had expressly desired." (ODNB) Whitehead had an almost fanatical belief in the individuals' right to privacy, which explains his wishes to have his papers destroyed; he rarely even wrote letters to friends or colleagues. In 2011, a 6-page letter from Whitehead was donated to the Library of Congress from the estate of Whitehead's former assistant. In honor of this most rare item, the Library of Congress held a symposium focusing "on the historical context of the letter and on Whitehead and his intellectual focus in a number of fields. Whitehead seldom corresponded with anyone, and a receipt of a letter by his friends or colleagues was described as 'rare and cause of a communal celebration'. Further, Whitehead's family carried out his instructions and destroyed his papers." ("Experts to Discuss Famed Mathematician and Philosopher Alfred North Whitehead and a Rare Piece of Correspondence at Symposium on Feb. 17," Library of Congress News). In the present manuscript, likely written ca 1900, possibly in early preparation for his magnus opus, Principia Mathematica, Whitehead takes a deep look at several issues in mathematics, primarily in regards to bilinear forms, homogeneous functions, and quadratic forms, as discussed in the work of mathematicians Karl Weierstrass and Ferdinand Georg Frobenius, and citing the work of several other mathematicians, most notably George Salmon. Widely known as the "father of modern analysis" Weierstrass was a German mathematician who was one of the founders of the modern theory of functions. Very interested in the soundness of calculus, he made great contributions to the theories of periodic, elliptic, and Abelian functions, functions of real variables, the calculus of variations, and as in the second work analyzed in the present manuscript, bilinear and quadratic forms. The first section, titled "Weierstrass Monatsberichte der Königl. Akad. zu Berlin. 1858" and subtitled "Über ein die homogenen Functionen zweiter Grades betreffen des Theorem" consists of an analysis and partial translation into English of Weierstrass' 1858 paper on homogenous functions and bilinear forms. Here, Whitehead translates the equations set forth in Weierstrass' paper, showing their proofs, often noting limitations or lack of clarity to the notation,and expanding upon them. Whitehead references the work of several other prominent mathematicians, applying their work to Weierstrass' equations. For example, on f 7, Whitehead applies the theory of determinants set forth in George Salmon's 1876 work Lessons Introductory to the Modern Higher Algebra, to Weierstrass' equations (14)-(17) as follows: "Now from the theory of determinants (of Salm. High. Alg. §33) = si= the product of and an integr[al] function of s. Thus ? (14) Also ? (15) Hence from (14) and (15) is =, where is a linear function of , , . Thus if ++. + ? (16) ? (17)" Whitehead often expands and improves upon Weierstrass' work, notably for proofs 24 & 25, for which Whitehead gives his own lengthy proofs, including a 3 page proof for (24) beginning: "To prove that ?? is a (?-1) fold root of ??(s)=0," and another 3 page proof beginning "Now the roots of (1)=0 are all real: this follows from the proof when the roots are all different. Hence (3)?? is divisible by (s-sµ)l-1. QED." Whitehead also makes alterations or improvements to Weierstrass' notation, such as on ff 42v "Note Weierstrass' notation is slightly altered here" or simply points out problems with the notations, such as on ff 46v "These are the forms of Eq |38| given by Weierstrass; but his notation is not explained very clearly." The second section, titled "Weierstrass. Berliner Berichte 1868. Zu theorie der bilinearen und quadratischen Formen" is the lengthiest. It consists of an analysis and partial translation into English of Weierstrass' 1868 paper on bilinear and quadratic forms.Similar to what he did in the first section, Whitehead here analyzes the equations set forth in Weierstrass.

Hardcover. Etat : Very Good. 1st Edition. 5 volumes. Folio (21 4/8 x 14 4/8 inches). 367 hand-colored lithographs after John Gould, Josef Wolf, and H.C. Richter. Contemporary green and half morocco gilt, raised bands on spine, marbled endpapers. Light spotting to introductory pages, spine and corners lightly scuffed. "The most popular of all his works is always likely to be Birds of Great Britain" ("Fine Bird Books") First edition. Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works, including nests, chicks and eggs: "I also felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera - a thing hitherto almost entirely neglected by author's, and I feel assured that this infantile age of birdlife will be of much interest for science." (Gould "Preface" to "Introduction", 1873). Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volume Gould initiated a format of publishing that he was to continue for the next fifty years, although for future works he was to write his own text. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than 300 scientific papers. "His hand-coloured lithographic plates, more than 3300 in total, are called 'Gould plates'. Although he did not paint the final illustrations, this description is largely correct: he was the collector (especially in Australia) or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings. The design and natural arrangement of the birds on the plates was due to the genius of John Gould, and a Gould plate has a distinctive beauty and quality. His wife was his first artist. She was followed by Edward Lear, Henry Constantine Richter, William Matthew Hart, and Joseph Wolf" (Gordon C. Sauer for DNB). Anker p. 60; "Fine Bird Books"; Nissen 372; Sauer 23; Tree "The Ruling Passion of John Gould", p. 207; Wood p. 365; Zimmer p. 261. Catalogued by Kate Hunter. (L64F18D).