Offered here is a superior example of Willem Blaeu’s view of the world, including a splendid cartes-á-figures border illustrating the seven wonders of the ancient world along with allegorical depictions of the planets, elements, and seasons. This famous element of Blaeu’s map offers contemporary viewers a glimpse into the fascinations of a bygone era. Displayed using Mercator’s projection, this single sheet world map is one of the most renowned to appear within an atlas during the Golden Age of Dutch cartography. Based closely upon his famous wall map of 1605, the present example is a reduced version and essentially shares identical geographical information as the former. The Polar Regions are largely exaggerated due to the characteristics of the Mercator projection. Also shown are general 17th century cartographic misconceptions that include an enormous southern continent that is connected to South America by a narrow straight in addition to an incomplete New Guinea to the extreme west. The elongated northwest coast of North America is also inaccurately delineated.
Willem Blaeu was arguably the most important cartographer of the Dutch Golden Age and one of the most famous 16th century publishers. The Blaeu Family flourished in Amsterdam for over 40 years publishing maps, globes, and atlases until a fire destroyed their workshop in 1672. The present map is an outstanding cartographic accomplishment produced of the finest materials, craftsmanship, and geographical information of the time. It became the standard world map included in Blaeu’s atlases up until 1662. This wonderfully collectible map of the world makes a quintessential addition to any collection.
Willem Janszoon Blaeu (1571-1638). “Nova Totius Terrarum Orbis Geographia Ac Hydrographica Tabula auct: Guilielmo Blaeuw,” (Amsterdam, 1606 [c.1635]). Fifth and final state. Copperplate engraving with fine original hand-color. 15 7/8 x 21 1/4″ to neatline. Archivally framed 28 3/4 x 33 3/4″. Excellent condition by sight. SOLD.
Girolamo Ruscelli (1500–1566). “Tierra Nueva,” (Venice: 1574). Second state, Italian text. Published in La Geografia. Copperplate engraving, black and white as issued. Strong impression. 7 x 9 5/8″ at neatline. Sheet size: 8 3/8 x 11″. Description on verso: “Tierra Nueva, De Los Bacalaos, Tavola Prima Del Mondo Nuovo.” Printed slightly skewed on paper; some minor age toning in margins. Archivally hinged, frame ready. Excellent condition. $2,600.
This beautiful map was published in Girolamo Ruscelli’s newly expanded and revised edition of Ptolemy’s Geographia. It wonderfully depicts an early and influential mapping of the northeastern coast of North America, an area that is presently known as New England and Canada. Ruscelli’s map is an enlarged version of Giacomo Gastaldi’s previously published map of 1548 and shows near identical geography and placenames. Cartographical references are also taken from Ramusio’s map of 1556, which delineates the assumption that the Hudson and St. Lawrence Rivers were connected upstream. Most of the geographical information was primarily based on the explorations of Giovanni da Verrazano in 1524 and Jacques Cartier in 1534. The example offered here was Ruscelli’s attempt at defining the coastline between Newfoundland and the Carolinas, Verrazano’s first landfall. For point of reference, the Strait of Belle Isle, the northern entrance to the Gulf of St. Lawrence, is indicated as Baye Das Chasteaulux. Labrador is indicated to the north. The Maritimes of Canada are represented as an archipelago and further down the coast indistinct inlets and bays are named. Angoulsme may represent the New York area while Larcadia may indicate the Chesapeake region. Groups of unidentifiable islands in the Atlantic are indicated, but Bermuda is unmistakable. Tierra Nueva stands as a quintessential document of the Northeast of America during the 16th century.
First published in Abraham Ortelius’ Theatrum Orbis Terrarum, the first modern atlas of the world, this magnificent map highlights the famous city of Verona and its surrounding region. Visually appealing in the subtlest way, the present example displays fantastic original coloring that in turn produces an enticing patina. Accurate geographical information was primarily copied from Bernardino Brugnoli’s previous map of Verona and its surroundings, which was published just a few years earlier in 1574. Credit was given to Brugnoli by his mention in the striking Mannerist title cartouche that is located in the upper left corner of the document. Verona is most famously known as the setting where the tragedy of Romeo and Juliet by William Shakespeare took place. Mantua and Lago di Garde are prominently identified along with intricate river systems and detailed topographical information, noting the mountainous region of Northern Italy. Offered here is not only a rare opportunity to acquire a wonderful piece of cartographical history, but to actively explore a region rich in cultural and artistic influences as viewed during the 16th century.
Abraham Ortelius (1527-1598). “Veronae Urbis Territorium,” (Antwerp: 1579 [1612]). Published in the Latin edition of Theatrum Orbis Terrarum [p.80]. Dated middle right “1579. Cum Priuilegio. decennli,” (Denoting the date this map first appeared in Theatrum Orbis Terrarum). Double-page copperplate engraving on thin paper. Superb original full color with oxidation on verso. 12 7/8 x 18 3/8″ to neatline. Sheet size: 16 1/8 x 21″. Latin text on verso: “VERONÆ URBIS DITIO”. Ornately colored rubric on verso. Mild overall toning with a very pleasing patina. Overall superb condition. $1,500.
Antonio de Herrera y Tordesillas (1549-1625). “Descripcion De Las Yndias Ocidentalis,” (Madrid: 1601, [1622]). Published in Historia General. Copperplate engraving. Uncolored as originally issued. 8 3/4 x 12 3/8″ to neatline. Handsomely framed: 18 1/8 x 21 1/2″. Excellent condition by sight. $3,500.
Offered here is a very important, early mapping of the Americas by the Spanish cartographer Antonio de Herrera y Tordesillas. He was known to be the official historian of Castile and the Indies of King Philip II of Spain. Sparse in terms of decorative embellishments, this classic map presents a sophisticated and reduced aesthetic with minimal topographical and interior information. Place names such as California, Florida, C. de fortun, Nueva Espana, and Mexico appear within the North American continent. Cartographically, the present map is mostly derived from Juan Lopez de Velasco manuscript charts, c.1575. Fiercely contended lines of demarcation between the Spanish and Portuguese are shown running from top to bottom on the righthand side of the map. The delineation of the East Indies is incorrect due to its placement forty degrees too far east, which in turn helped reinforce Spain’s influence in the Philippines. This outstanding example of Antonio de Herrera y Tordesillas’ famous map of the Americas is pivotal in the understanding of cartographical advancement during the 17th century and would make an outstanding addition to any collection.
An outstanding example of Johannes De Laet and Hessel Gerritsz wonderful mapping of New France. The map extends from present day Newfoundland to as far west as Lake Champlain, which is located with considerable accuracy as compared to other documents of the time. Arguably one of the finest depictions of the Americas during the 17th century, the important map offered here is only one of three maps in De Laet’s work that refers to the east coast of North America. Cartographical information was drawn from the previous works of Ramusio, Champlain, and Sir William Alexander’s famous map of 1625, which appeared in Samuel Purchas’ multi-volume work Purchas His Pilgrimes. Prince Edward Island is delineated here for the first time in its correct form. Delightful topographical details appear throughout the map such as realistically engraved mountains and forests along with rivers and lakes. This highly acclaimed map of New France, which includes present day Nova Scotia, New England, and Newfoundland, would make a paramount addition to any collection centered around the Northeastern coast of North America.
Johannes De Laet (1581-1649) & Hessel Gerritsz (1581-1632). “Nova Francia et Regiones Adiacentes,” (Antwerp: Elsevir, 1630). Published in Novus Orbis seu Descriptionia Indiae Occidentalis Libri XVIII. 11 1/8 x 14 1/4″ to neatline. Sheet size: 13 1/2 x 15 3/4″. Copperplate engraving, uncolored as issued. Strong, rich impression. Repaired tear in l.l. margin. Otherwise, in excellent condition. $3,500.
Willem Janszoon Blaeu (1571-1638). “China, Veteribus Sinarum Regio nunc Incolis Tame dicta.,” (Amsterdam: 1635). Published in Theatrum Orbis Terrarum, Sive Atlas Novus. Copperplate engraving with fine original hand-color on strong laid paper. 16 x 19 1/2″ to neatline, plus full margins. Sheet size: 19 1/2 x 22 3/4″. Latin title on verso: “CHINENSE IMPERIUM”. Minor rust spot left side; slight discoloration of paper in margins; stray color left quadrant; some toning top verso. Otherwise very good condition for this desirable map. $3,000.
Willem Blaeu’s first mapping of China offers a historic 17th century view of the region during the reign of the Ming Dynasty. Prominently drawn in the northern part of the country is one of the most famous sections of the Great Wall, which helped contain most of China to the east, protecting it from various nomadic invaders. Geographical details are accurately portrayed within mainland China including city locations, lakes, river systems, and topographical information. Japan is comprised of three main islands: Iaponins, Tokoefi, and Cikoko. Also included is the northern portion of the Philippines. Interesting cartographical errors include the portrayal of Korea (Corai) as an island, yet another notable case of a peninsula turned island. An additional misconception that is shown is the mythical lake Chiamay Lacus, which is depicted in the lower left quadrant of the map feeding five major rivers that flow south into Siam and India. Decorative elements include a wonderfully colored title cartouche along with an elaborate coat of arms that dedicates the map to D. Theodore Bas, a director of the Dutch East India Company. The present map is an outstanding cartographic accomplishment produced of the finest materials, craftsmanship, and geographical information of the time. This desirable map of China would be a fantastic addition to any collection focused on the Eastern Hemisphere.
The present example is a renowned mapping of Russia published by Willem Blaeu in 1635, featuring a detailed inset map of Moscow and an expansive city view of Archangelsckagoroda (Archangel). This fantastic map of Russia was originally drawn by Hessel Gerritsz in 1613 and later reissued by Blaeu after he acquired the plate following Gerritsz’s death in 1632. It would become the most reproduced map of Russia for many years to come. Geographical information was drawn primarily from manuscripts by Isaac Massa. The inset plan of Moscow with its corresponding 17-point key had been attributed to the Crown Prince Fydor Gudonov. Three Russian figures in traditional attire stand above the view of Archangel, which at the time was Russia’s only northern seaport until St. Petersburg was founded in 1703. Vast river systems, forests, mountains, villages, and cities are shown throughout the map. Running through the center of the map is the unmistakable line of fortifications known as the Great Abatis Line, or the Zasechnaya Bar, which protected Russia from military attacks to the south. This classic early mapping of Russia would provide an anchor piece to any collection based on Eastern Europe.
Willem Janszoon Blaeu (1571-1638). “Tabula Russiæ ex autographo, quod delineandum curavit Foedor filius Tzaris Boris desumta,” (Amsterdam: 1635). Published in Theatrum Orbis Terrarum, Sive Atlas Novus. Copperplate engraving with fine hand-color. 16 3/4 x 21 1/2″ to neatline, plus full margins. Sheet size: 19 3/4 x 23 3/4″. Inset map of Moscow u.l. City view of Archangelsckagoroda c.r. German text on verso. Some staining in u.l. and u.r. margin; small chip extreme l.l. margin; slight chipping l.l. and l.r.; rust stain l.c.; remnants of old hinges on verso. Generally, very good condition. $4,500.
Willem Janszoon Blaeu (1571-1638). “Americae nova Tabula,” (Amsterdam, 1617 [1645]). Fifth state. Copperplate engraving with fine original hand-color. 16 1/8 x 21 7/8″ to neatline. Archivally presented in a wonderfully carved, gold-toned frame: 28 3/4 x 33 3/4″. Inset, u.c.: “Groenlan” (Greenland). Excellent condition by sight. $6,500.
An exquisite example of Willem Blaeu’s interpretation of America including splendid figurative illustrations and detailed city plans that help create a comprehensive understanding of the new world. The map offered here is considered to be a highly desired map of this region from the Golden Age of Dutch Cartography. Blaeu’s addition of previously established placenames displayed along the Pacific and Atlantic coasts in a Portolan style are reflective of early Spanish exploration. English names appear along the majority of the Atlantic coast in North America. The mapping of America during this time period commonly led to the belief of California existing as an island, surprisingly Blaeu rejected this norm and illustrated the land mass rather in peninsular form. Most captivating are the cartes-á-figures, the masterful illustrations of native inhabitants from the far-reaching regions of the Western Hemisphere that are embedded in the border. Advancing the multidisciplinary art form in terms of geographical accuracy, aesthetics, and materials, Blaeu’s “Americae nova Tabula” demonstrates the highest standard of quality produced during this period.
Nicholas Sanson’s Map of New Mexico and Florida is highly significant in the history of cartography as the first large-scale map in a printed atlas to depict the Spanish territories from Florida to California. Martin and Martin note that “it served as a prototype for the delineation of California as an island, and contributed a number of new place names in the New Mexico region. . . . It has served as a summary of the best information available for the greater Texas region during the middle of the seventeenth century,” which, in essence, was very little. The island’s current form illustrates two distinguished bays along its northern coast. New placenames of unknown origin appear in the northern region of California as Talaago and R. de Estiete, in addition to an enigmatic peninsula protruding out of the mainland’s coast denoted as Agubela de Cato. Sanson also introduced new information on Indian tribes along the Rio Grande, here mistakenly shown as flowing southwest, and with Santa Fe erroneously located west of the Rio del Norte. The term “Floride Francois” is used for the first time to designate French possessions in Georgia and South Carolina. An outstanding example of this cornerstone document, the present map is a strikingly noteworthy presentation of the American Southwest.
Nicholas Sanson d’Abbeville (1600-1667). “Le Nouveau Mexique et La Floride: Tirees de diverses Cartes, et Relations” (Paris: Chez l’Autheur, 1656 [c. 1675]). Third state with the imprint Chez l’Autheur . . . 1656. Copperplate engraving with fine original outline color. 12 1/8 x 21 1/8″ at neatline. Handsomely presented in a gold-toned frame: 22 x 27 3/8″, with full margins. Minor oxidation around paper edge; minor fox marks l.c. Overall an excellent example of this important map. $8,000.
This wonderfully engraved and highly decorative map of Scotland by John Senex presents the country divided into numerous counties and shires. Located in the upper right-hand corner of the map is an intricately engraved title cartouche that reveals a secondary title; “A New Mapp of Scotland, the Western, Orkney, and Shetland Islands. Most humbly Inscrib’d to His Grace the Duke of Hamilton & Brandon &c.,”. Numerous lochs, rivers, and forests are depicted in great detail throughout the region. This map was originally published by Christopher Browne in 1705 and was later reissued by Senex for inclusion in his New General Atlas in 1721. Overall, this sophisticated 18th century English map of Scotland is a beautiful and important example of Senex’ production and would make an outstanding addition to any collection centered around the British Isles or Europe.
John Senex (1678-1740). “A New Map of Scotland According to Gordon of Straloch,” (London: 1721). Published in Senex’s New General Atlas, Containing a Geographical and Historical Account of all the Empires, Kingdoms, and Other Dominions of the World… Copperplate engraving with fine original outline color. Uncolored cartouche as issued. Strong impression. 21 7/8 x 18 1/4″ to neatline. Sheet size: 24 7/8 x 20 3/4″. Inset map u.l. Isles of Shetland. Slight crease upper quadrant, not visible from the front; nice oxidation of the outline color on verso; very slight toning along the extreme edges of the sheet. Excellent condition for this desirable map of Scotland. $2,500.
Offered here is a splendid English mapping of the island of Sicily by John Senex. The document’s large format allows room for a multitude of fascinating topographical features along with architectural and cultural landmarks. Prominently located on the eastern side of the island is the unmistakable Mt. Etna, or Monte Gibello, which is depicted with ash rising from its crater. It remains to be one of the world’s most active volcanos. Cartographical details were derived from Guillaume De L’lsle’s previous map of the island from 1717. Senex’ map shows the addition of a decorative title cartouche that presents the Greek gods Neptune and Mars, which comment on Sicily’s war ridden past. The dedication of the map to Montague Garrard Drake is also mentioned here. An informational key at the bottom right shows numerous characters that represent cities, fortresses, castles, bishoprics, archbishoprics, rivers, and aqueducts. This pleasing map of Sicily is an important and scarce example of Senex’ production for his 1721 New General Atlas and would be quintessential for any collection focused on Italy or the Mediterranean.
John Senex (1678-1740). “A Map of the Island and Kingdom of Sicily,” (London: Browne, 1721). Published in A New General Atlas Containing a Geographical and Historical Account of all the Empires, Kingdoms and other Dominions of the World… Copperplate engraving with fine original outline color. Uncolored cartouche as issued. 19 1/8 x 22 3/8″ to neatline. Sheet size: 21 1/4 x 24 1/4″. Inset map l.l. of A Particular Map of the Island of Malta and the Neighbouring Islands. Terrific detail. Slightly rough margin t.l.; minor spot l.l. margin; one rust spot u.l. quadrant near cartouche. Archivally hinged; frame ready. Excellent condition. $2,000.
Robert de Vaugondy’s exquisite map of Virginia and Maryland shows a Virginia as it appeared at the beginning of the French and Indian War (1754–1763). The early British colony of Virginia had once encompassed areas to the north and west that were ceded to newer colonies by the British crown or claimed by France. As the title states, this fantastic map is based directly upon the landmark map by Joshua Fry and Peter Jefferson (father of Thomas Jefferson). Together they had completed the first comprehensive survey of Virginia and drew their map without delineation of a western border. Following the Treaty of Paris 1763, Virginia would designate its western border at the Ohio River, effectively encompassing West Virginia and Kentucky, which were later established by the United States government. A wonderful and highly detailed depiction of the Chesapeake Bay is shown along with intricately drawn interior river systems.
Gilles Robert de Vaugondy (1688-1766). “Carte de la Virginie et du Maryland. Dressée sur la grande carte Angloise de Mr.s Josué Fry et Pierre Jefferson,” [Map of Virginia and Maryland. Drawn from the large English map by Joshua Fry and Peter Jefferson.] Par le Sr. Robert de Vaugondy Géographe ordinaire du Roi. Avec privilège 1755. Gravé E. Haussard.” (Paris: Robert de Vaugondy, 1755). Published in Vaugondy’s Atlas Universel. First edition, first state with western border of Pennsylvania at 297˚30,’ Lord Fairfax grant line, and Elizabeth Haussard signature. Title printed on verso, u.l. and u.r. corners. Double-page copper-plate engraving with original hand-colored outlines on heavy paper. 19 1/8 x 25 1/4″ to neatline. Full margins. Sheet size: 21 1/4 x 27 3/4″. Expert restoration on the centerfold verso to remove binding tab; one stain u.l. showing through from verso; minor stain l.l. margin; very minor stain l.r. margin; manuscript number u.r. Overall, excellent condition for this important map. $5,500.
The present map is directly based upon one of the most important maps published in America before it’s independence from Great Britain. Offered here is a superb example of Robert Laurie’s and James Whittle’s reissue of Lewis Evans’ famous landmark map of the middle British colonies that was originally published in 1755. Schwartz & Ehrenberg state that the Evans map, “is considered by historians to be the most ambitious performance of its kind undertaken in America up to that time, and its publication was a milestone in the development of the printing arts in the colonial period”. The map shown here depicts an early United States bordering parts of British possessions to the north in Canada. It catalogs crucial details of the North American interior and Western Territories, including important Native American tribes, river systems, and natural resources located throughout Kentucky, the Ohio River Valley, and Illinois. This is perhaps the first map to show Petroleum in western Pennsylvania and Coal near the Ohio River. Published in 1801, the present example has been updated with post-Independence details.
Robert Laurie (1755-1836) & James Whittle (1757-1818). “A New and General Map of the Middle Dominions Belonging to the United States of America,” (London: 1794 [1801]). Published in A New Universal Atlas, Exhibiting All The Empires, Kingdoms, States, Republics, &c. &c. In The Whole World. Copperplate engraving on strong heavy paper. Fine, original outline hand-color. Strong impression, uncolored cartouche as issued. Full margins. Large folio size: 19 1/8 x 26 1/8″ to neatline. Sheet size: 21 3/8 x 28 5/8″. Trompe-l’oeil inset map u.l.: A Sketch of the Upper Parts to Show the Remainder of the Lakes. Great oxidation of outline color on verso; numbered 72 in u.r. on verso. Overall, superb condition for this important map. $3,500. “
“… the outstanding man of 1846, insofar as the West is concerned, was clearly the prolific Philadelphian, S. Augustus Mitchell, who during the year issued no less than three maps. … The third map, ‘A New Map of Texas, Oregon and California’ was a work of real importance, highly popular … on it the influence of the War with Mexico is strikingly revealed.” — Carl Wheat
One of the first commercially prepared maps to show the new State of Texas, Samuel A. Mitchell’s map is a well-designed and attractive production, featuring all of the political detail available about Texas. This famous map was enormously popular at the time of its publication, tapping into the great expansionist aspirations of mid-nineteenth-century Americans. Mitchell included the enormous extent of land claimed by Texas with a northwestern boundary at the 42nd parallel on the Upper Rio Grande. Other imminent conquests of the Mexican-American War are shown as part of the U.S. territory, including the whole of Upper California. And the entire Oregon Country north to Russian America at parallel 54°40′ (parts of which were also claimed by the British) is included. With these claims, U.S. territory completely surrounded what was still designated as Indian Territory. The map serves as a graphic representation of this dynamic period of U.S. expansion into the great western territories.
Samuel Augustus Mitchell (1790–1868). “A New Map of Texas, Oregon and California with the Regions Adjoining. Compiled from the Most Recent Authorities” (Philadelphia: S. Augustus Mitchell, 1846). Lithograph with superb original full and outline color. 22 1/2 x 20 3/4″ to decorative border. Sheet size: 23 x 21 1/4″. Issued in, and presented with Accompaniment to Mitchell’s New Map of Texas, Oregon and California with Regions Adjoining (Philadelphia: S. Augustus Mitchell, 1846). 46 pages containing historical notes and descriptive text in regard to the map; in brown leather boards with embossed decoration and gilt titling; expert repairs to spine. Some minor foxing of text. Map backed on archival tissue; small original, full margins; some staining l.r. corner and u.r. corner; some color outside of the lines in the map border. Excellent condition for this rare and popular map. $15,000.
In his famous 1849 map of the Gold Rush era, Joseph H. Colton handsomely combined new information from the 1848 maps of Frémont and Tanner. The map offered here shows a vast Upper California, the northern border of Texas extending north to Bent’s Fort, and a large Nebraska Territory reaching to the Canadian border. The boundary line drawn for the areas of Upper California, New Mexico and Texas is labeled “Boundary according to the Treaty of February 22d, 1819 and of Jan. 12th, 1828.” The Adams-Onis Treaty of 1819 resulted from negotiations between the United States and Spain in regard to the possession of Florida and the limits of the Louisiana Purchase. In the 1819 treaty, also known as The Florida Treaty, Spain ceded Florida while the United States renounced any claims to Texas. The 1828 Mexican-American Treaty concerned commercial trade between the two nations. And while the United States made a purchase offer for part of Texas during these negotiations, the Mexican government refused, and the 1819 boundary was maintained. Colton’s Map of California, Oregon, Texas, and the Territories Adjoining is among the best of the commercial maps rushed to press in 1849 to meet the clamor for details on the route to California and location of the gold fields.
H. Colton (1800-1893). “Map of California, Oregon, Texas, and the Territories Adjoining with Routes &c.” (New York: D. Appleton & Co., 1849). Published in Edwin Bryant’s What I Saw in California. Book in excellent condition, small map of Gold Regions opposite of title page, signature of Major General Geo. M. Brooke U.S.A. in ink on front free endpaper. Copyright info printed l.l. margin. Lithograph on thin paper by Ackermans New York with original, light outline hand color. Gold Region is highlighted in yellow. 20 3/8 x 17 7/8″ to decorative and intricate, botanical themed border. Sheet size with small, original margins: 21 1/8 x 18 1/2″. Map issued folding, with accompanying book; backed with extremely thin archival tissue; very slight printers wrinkle l.c.; very slight browning on verso fold lines; slight staining l.l. margin where it was once attached to book. Otherwise, superb condition for this delicate map. $9,500.
The Philadelphia based publisher Thomas, Cowperthwait & Co. issued this fine map of Texas complied by Samuel A. Mitchell in 1853. The map presented here shows a significant amount of information for both the eastern and western portions of Texas, but highlights the rapid rate of settlement and county development in the eastern part of the state. Having been published after the Compromise of 1850, the state of Texas begins to take on its currently recognized form. Mitchell’s map of Texas shows the state after the Republic era and in the midst of the Gadsden Purchase of 1853-1854, which was ratified a year after this map was published. This agreement with Mexico was responsible for the expansion of U.S. Territory into southern Arizona and southwestern New Mexico, and completed the creation of the current United States-Mexico border. In 1850, Thomas, Cowperthwait & Co. purchased the copyright for the maps in Mitchell’s New General Atlas. In this transitional 1853 impression, there is no mention of Mitchell, even though he is the man responsible for it.
Samuel Augustus Mitchell (1790-1868). “Map of the State of Texas from the latest Authorities,” (Thomas, Cowperthwait & Co, Philadelphia: 1853). Published in A New Universal Atlas. Lithograph transfer from engraved plate by J.L. Hazzard and J.H. Young with original full hand color, 12 3/4 x 15 7/8″ to decorative border. Sheet size: 13 3/8 x 16 5/8″. Inset l.l.: “Map of the Vicinity of Galveston City.” Inset u.l.: “Northern Texas on the same scale as the larger map.” Bright and clean impression on heavy paper. Overall age toning. Some spotting in upper margin; tight bottom margin. Very good condition. $2,000.
This nearly flawless, large-scale map of the United States and Mexico by Eugène Andriveau-Goujon is an impressive example of French map-making at its finest. The engraving is superb, the pastel coloration elegant, and the details clearly and handsomely articulated. Andriveau-Goujon shows the Civil War-era United States from coast to coast and provides a very up-to-date account of the political boundaries of the West, especially notable for a European map produced during a period when the boundaries changed frequently as a result of the war. One of the most interesting of these changes is the early appearance of Colona, the first name for Colorado, along with and a very early appearance of Arizona Territory. The map also details wagon and emigrant roads, topography, Native American settlements, advancing and existing railroads, and all of Mexico, Guatemala, the Caribbean, and Central America. This is a fascinating Civil War-period map by a notable French map-maker in remarkable condition.
Eugène Andriveau-Goujon (1805 – 1894). “Carte Générale Des États-Unis Et Du Mexique,” (Paris: Andriveau-Goujon, Rue du Bac, 21, 1862). Steel engraved and transferred lithograph case map with original full hand color, dissected and laid on fine, slightly toned linen. 24 3/8 x 35 7/8″ at handsome piano key border. Sheet size: 26 1/8 x 37 3/4″. Folds into original brown cloth covers with the title embossed in gilt, 9 1/8 x 5 5/8″ (Folded). Blind-stamp decorative embossing to covers, further embellished by Andriveau-Goujon’s logo featuring a globe in green and gold. Title stamped on spine. An original Andriveau-Goujon paper label is attached to the linen on verso. Decorative endpapers. Four inset maps: “Entrée de New-York,” “Carte des Rapports entre L’Europe & L’Amérique,” “Petites Antilles et Nord de l’Amérique du Sud,” and “Etats de L’Amérique Centrale.” Excellent condition for map and covers. SOLD.
Offered here is a fine example of Keith & Northrup’s rare and historic oil map depicting the resource rich region of northwestern Pennsylvania and southwestern New York. The focus of the document is on the state line between New York and Pennsylvania and is based on information provided by the surveys by Geo. T. Keith of Bradford, PA and H. F. Northrup of Ellicottville, NY. Highly detailed industry information is shown by the notation of individual landholdings along with their owner’s name in addition to leased property and oil derrick locations. Native American reservations and territories are noted. Other topographical features noted include river networks, watersheds, roads, and buildings. Traveling from Horace Beardsley’s property to a Pipeline Tank in Olean, NY is the prominently delineated Olean Pipeline. (Olean is Latin for oil). This line is known to pre-date the first major pipelines developed by Standard Oil in 1881. Vital railroads including the Buffalo & McKean, Erie, and Buffalo, New York, and Philadelphia lines appear winding throughout the region. A rare and historic map for any collector interested in oil related documents.
Keith & H. F. Northrup. “Keith & Northrup’s Map of the Northern Oil Field in Pennsylvania and New York,” c. 1870. Folding map printed by the Graphic Co. Park Place, NY. Lithograph in black and white on fine bank note paper. Map measures: 29 3/8 x 33 5/8″. Original tri-fold envelope in very good condition measures: 7 x 3 3/4″. Slight oxidation along fold lines only visible on verso. Overall, excellent condition. $2,000.
H. Lloyd’s attractive map offers a sweeping view of the American Southwest by showing the divisions of land that make up the state of Kansas and the territories of Arizona, Colorado, New Mexico, Utah, and Indian Territory. The territories are shown with their present-day boundaries along with large county delineations highlighted in various original colors. Kansas, the only state to appear, is shown densely developed primarily in the east. A large Wallace county is depicted in the far western portion of the state. The map offered here was published just a few years before Colorado became a state in 1876. Various topographical information is shown along with river systems, trails, railroad routes, forts, and cities. Indian Territory is loosely divided into various regions such as Cherokee Country, Creek Country, the Chickasaw District, and the Choctaw District. H.H. Lloyd and Company is known for its publication of maps and atlases from approximately 1860 to 1878, at various addresses in New York City. His firm became the prominent supplier of world and regional maps for other publishers producing combination atlases.
H.H. Lloyd (1860-1890). “Kansas, And The Territories of Arizona, Colorado, New Mexico, Utah, and Indian Territory,” (Baltimore: Stedman, Brown & Lyon, 1873). Published in New topographical atlas of the State of Maryland and the District of Columbia. Lithograph with full, bright hand color. 15 3/8 x 24 1/2″ to neatline. Sheet size: 17 1/4 x 26 3/8″. Overall age toning, a few minor chips in top and bottom center margin. Minor tear top centerfold, professionally repaired. Archival hinges, frame ready. Overall, very good condition. SOLD.
Offered here is a fine example of Keith & Northrup’s rare and historic oil map depicting the resource rich region of northwestern Pennsylvania and southwestern New York. The focus of the document is on the state line between New York and Pennsylvania and is based on information provided by the surveys by Geo. T. Keith of Bradford, PA and H. F. Northrup of Ellicottville, NY. Highly detailed industry information is shown by the notation of individual landholdings along with their owner’s name in addition to leased property and oil derrick locations. Native American reservations and territories are noted. Other topographical features noted include river networks, watersheds, roads, and buildings. Traveling from Horace Beardsley’s property to a Pipeline Tank in Olean, NY is the prominently delineated Olean Pipeline. (Olean is Latin for oil). This line is known to pre-date the first major pipelines developed by Standard Oil in 1881. Vital railroads including the Buffalo & McKean, Erie, and Buffalo, New York, and Philadelphia lines appear winding throughout the region. A rare and historic map for any collector interested in oil related documents.
Warner & Beers/H.H. Lloyd. “County Map of Idaho, Montana, and Wyoming,” (Chicago: Warner & Beers, 1875). Published in H.H. Lloyd and Company’s Atlas of the United States. Lithograph with full original bright hand color. 13 7/8 x 16 1/4″ to decorative border. Sheet size: 15 x 17 1/2″. Minor oxidation lower margin; fox mark u.l. quadrant. Excellent condition. $700.
Warner & Beers’ fantastic County Map of California and Nevada offers a quintessential view of the neighboring states with original, hand colored county delineations. The two states are distinguished with a bright red outline that adds a pleasing contrast to the pastel palette used to illustrate the county separations. Nevada reflects a sparse population due to the large size and small number of its current counties as opposed to the numerous smaller ones located throughout California. The western half of the first transcontinental railroad is shown running from the San Francisco Bay in California up through the northern regions of Nevada as it makes its way eastward. This essential railway route was completed in 1869, just a few years before the present map was published. Wonderful topographical information is shown in addition to the identification of river systems, railroads, cities, towns, lakes, and mountains. This delightful map of California and Nevada would make a great addition to any collection focused on the development of the Southwestern United States.
Warner & Beers/H.H. Lloyd. “County Map of California and Nevada,” (Chicago: Warner & Beers, 1875). Published in H.H. Lloyd and Company’s Atlas of the United States. Lithograph with full original bright hand color. 16 3/4 x 13 3/8″ to decorative border. Sheet size: 18 x 14 5/8″. Excellent condition. $750.
“In June 1859, Capt. John N. Macomb, chief topographical officer in New Mexico, was ordered to lead an expedition northward along the Old Spanish Trail in search of the desired military road into Utah. . . . Macomb was authorized to take along John Strong Newberry and a staff of four assistants. . . . in the realm of geography and geology its implications were considerable. The whole drainage of the San Juan had been traced and the relationship of that river with the Colorado clearly established. . . . The entire maze of intricate canyon country has been threaded, and its geography revealed for the first time. . . . Newberry, like Hayden and Meek, introduced a new level of sophistication into the study of western geology.” — William Goetzmann
The results of Macomb’s survey, Newberry’s important geological report, and the illuminating map of the expedition, were not published until 1876, as delayed by the Civil War. The importance of the expedition lies in the party’s discovery that the Green and Grand rivers unite to form the Colorado, which, just below this juncture, flows into “the profound chasm of the Colorado Canyon,” in Newberry’s words, revealing to Newberry the drainage of the central part of the Far West. This is a superb and desirable document of Western exploration revealing for the first time the complete geography of the Colorado River system.
Capt. John Navarre Macomb (1810–1889). Report of the Exploring Expedition from Santa Fé, New Mexico, to the Junction of the Grand and Green Rivers of the Great Colorado of the West, in 1859 . . . with Geological Report by Prof. J. S. Newberry, Geologist of the Expedition (Washington: Government Printing Office, 1876). 4to complete with 22 lithographed illustrations and map, including 11 chromolithographs after watercolors by geologist J.S. Newberry (1822–92) showing scenery of New Mexico, Colorado and Utah. Original brown cloth covers; embossed gilt titling on spine; tissue guards present on color plates. Interior overall clean with occasional transference and some marginal toning; plates III & IV reversed order; 3 rear endpapers. Title page is fragile at binding. “Map of Explorations and Surveys in New Mexico and Utah under the direction of the Secretary of War by Capt. J. N. Macomb, Top.l Eng.rs. … 1860”. Lithograph. 28 3/8 x 34 1/4″ to neatline. Sheet: 30 7/8 36 7/8″ plus binding tab, l.c. Issued folding and attached to the above Report. Some transference. Some wear and toning at folds. A few minor tears professionally repaired. Overall fine condition for this complete set. $5,200.
Offered here is not only one of the most important documentations of the American Southwest but the undeniable authority of all studies pertaining to the Santa Fe Trail during its early period. Published by the prominent merchant and explorer Josiah Gregg, Commerce of the Prairies presents an in-depth description of the origin and development of trade along the famous route from Missouri to Santa Fe. Gregg includes important commercial statistics from 1822 to 1843 along with personal accounts from his arduous journeys across the vast prairie. Thorough notes on Native American cultures and Gregg’s careful observations of geographical and geological information makes this prolific work one of the most acclaimed books pertaining to the Southwest. Noted by Carl Wheat to be a cartographic landmark, the detailed map included within this set depicts an expansive western territory stretching from the borders of Arkansas and Missouri to the Southern Rocky Mountains. It is the first map to carefully delineate the Llano Estacado or Staked Plains of western Texas. The geographical origins of the map presented here are based on Humboldt’s previous map of New Spain (1811), the road survey of the Santa Fe Trail by J.C. Brown (1825), and a number of Gregg’s personal contributions. This is an outstanding opportunity to acquire one of the most renowned and sought-after publications regarding the Santa Fe Trail and the American Southwest during the early 19th century.
Josiah Gregg (1806-1850). “Commerce of the Prairies: Or the Journal of a Santa Fe Trader, During Eight Expeditions Across the Great Western Prairies, and a Residence of Nearly Nine Years in Northern Mexico,” (New York: Henry G. Langley, 1844). First edition, first issue. Two volumes, 12mo: 7 5/8 x 5″. Important engraved frontispiece in each volume. Vol. 1 has two engraved plates and four half-page illustrations. Vol. 2 has two engraved plates and four half-page illustrations. Bound in original publisher’s brown cloth boards, decorated in gilt and in blind, spine lettered in gilt with the image of a Native American. Text block [Vol.1] is slightly askew. Very minor rubbing on boards. Spine fully intact and binding is in excellent condition. An exquisite map included in the volume has been professionally removed and preserved. Josiah Gregg (1806-1850). “A Map of Indian Territory Northern Texas and New Mexico Showing the Great Western Prairies by Josiah Gregg,” (New York: 1844). Cerographic engraved map printed on thin, semi-translucent paper with printed green-line underlay. 12 1/4 x 15″ to neatline. Sheet size: 13 7/8 x 16 3/8″. Excellent condition. Owners bookplate in both volumes: William H. Claflin Jr. (1893-1982), a wealthy American businessman and amateur archaeologist. The Peabody Museum at Harvard University houses a large collection that Claflin collected and donated. An additional owners’ manuscript notation on bookplate Grace E. Reed Feb. 1923. Excellent condition for this rare and important set. $10,000.
This territorial map by H. R. Page was published during a tumultuous era in New Mexico’s history that represented a transition from a time of bloodshed and violence to a state of order. The decade began with the Lincoln County War, a rivalry between two economic groups that erupted into violence with the killing of John H. Tunstall in 1878. This time also marked the beginning of the end for Billy the Kid. The contention of claims to Spanish and Mexican land grants made under the previous governments remained one of the most significant controversies during the territorial period. Less than half of the territory has been divided into township grids, giving some idea of the progress of the government’s survey at the time. Page’s map shows completed railroads, including a section of the Southern Pacific line in the southern portion of the region. Other fascinating details include historic Native American ruins and pueblos, as well as towns, roads, railroads, and mountains that are rendered in a distinctive cloud-like topographical style.
R. Page. “Page’s Map of New Mexico, 1881.” (Chicago: H. R. Page & Company, 1881). Published in Illustrated Historical Atlas of Wisconsin. First edition. Double-page lithograph on heavy paper with full original hand color. 24 5/8 x 16″ at decorative border. Sheet: 28 1/8 x 17 7/8″. Top vignette shows factory flanked by two trains. Bottom vignette shows several factories, a locomotive, and figures. Several small repairs on verso; one visible tear in upper margin, professionally repaired. Very good condition. $2,000.
A rare, early 20th century promotional map of Texas published by the Poole Bros. boldly delineates major railroad routes and their connections with St. Louis along with vast regional resources throughout the state. The delightful map offered here shows the state of Texas and various agricultural regions outlined in red along with bold black lines showing the Texas Pacific and the International & Great Northern Railroads and their important connections with the Iron Mountain Railroad into St. Louis. There is attention directed to the southern portion of Texas with a red circle and arrow specifically highlighting the Copita Prairie. Located in the top left corner of the map is a promotional blurb noting this area as the “Land of Least Resistance”, due to its proclaimed agricultural aptitude. Counties are named along with rivers, cities, and towns. A wonderful glimpse of Texas during the early 20th century showing its promise of agricultural growth and abundance.
Poole Bros. “St. Louis Southwestern Railway Lines, Iron Mountain Route to All Parts of Texas,” (Chicago: Poole Bros., 1909). Lithograph on thin paper. Brightly printed color. Neatline: 21 x 22 1/4″. Sheet size: 21 3/4 x 23 1/2″. Uneven bottom margin; a few minor chips along top of sheet; minor wear along folds. Excellent condition. $1,800.
“This is a glimpse into the heart of the continent towards which civilization is struggling; and the grey peaks, in their massive grandeur, seem . . . to be wrapt in a romance new, and fresh, and breezy . . . . This picture is a view into the penetralia of destiny as well as nature.”
— New York Leader, April 2, 1864
In the spring of 1859, Albert Bierstadt joined a government survey expedition to the Nebraska Territory. At the Wind River Range of the Rocky Mountains, he made sketches for his monumental painting, The Rocky Mountains, Lander’s Peak (collection of the Metropolitan Museum of Art, New York), completed in 1863. This work propelled Bierstadt into the first rank of American artists with remarkable rapidity. To capitalize on the success of his painting, Bierstadt sent the painting on tour, accompanied by promotional flyers and a subscription ledger for ordering an engraving. He engaged James Smillie, America’s premier landscape engraver, to execute the print. The engraving, which took three years to complete, was hailed as the most important work of Smillie’s career. Indeed, the juxtaposition of the astonishingly crisp details of a Shoshone encampment in the foreground with the atmospheric rendering of the imposing mountains in the background is breathtaking. This famous image is a combination of factual details and fictitious scenery that symbolized rather than represented the unseen grandeur of the Western United States to his audiences. The Rocky Mountains remains one of the great images of the American Dream of Manifest Destiny, here offered in a superb engraving by Smillie at the height of his skills.
Albert Bierstadt (1830–1902). “The Rocky Mountains,” (New York: Edward Bierstadt, 1866). Steel engraving on fine, heavy paper by James Smillie, black and white as issued. Image: 16 7/8 x 28″. Sheet size with full, original uncut margins: 22 1/4 x 32 3/8″. Signed in plate, and dated 1863, l.r. Strong, bright, and clear impression. Backed with archival tissue for support. Superb condition for this beautiful print after Bierstadt’s monumental painting. $10,000.
Offered here is a rare illustration by George Elbert Burr capturing the vast Arizona landscape with distant mesas and beautiful rolling clouds. The foreground is adorned with sparse desert vegetation along a dry arroyo, hopes of distant rain appear off into the horizon. Most prominently known for his remarkable printmaking ability, Burr utilizes the labor-intensive etching process of mezzotint to sculpt the image from an existing dark background by scraping and burnishing in the highlights. This image was the only one that he created solely using this process, Burr notes, “I only resorted to mezzotint once, just to see if I could do it. I did it, but never again. It’s a slow, plodding process, not adapted to my temperament.” George Elbert Burr was born in Cleveland, Ohio, he was primarily self-taught having briefly studied at the Art Institute of Chicago. He is known for making wonderful etchings for various magazine illustrations throughout the early 20th century. Burr’s work is found in a number of prestigious institutions including the Library of Congress, The Metropolitan Museum of Art, and the Brooklyn Museum of Art.
George Elbert Burr (1859-1939). “Arizona Clouds,” [no. 1]. 1923. Color mezzotint. Sheet size: 9 1/8 x 11 7/8″. Image size: 7 x 10″. Signed by the Artist in pencil George Ebert Burr l.l. margin. Del. et Imp. following the artist’s name, (Latin for “He drew and printed it”) l.l. margin. Artist’s monogram in plate l.r. [GB]. No. 75 l.r. margin. Catalogue Raisonné no. 68. Archivally framed in a beautiful presentation. Frame size: 15 x 17 1/2². Vibrant color, excellent condition. $4,500.
Ernest Martin Hennings renders a serene winter scene in Northern New Mexico. Delicately drawn using his signature mark-marking techniques, Hennings captures the essence of a frozen stream during the winter season. This print was created using the process of lithography, which allowed Hennings to implement soft and subtle tonal changes within the image to convey a quiet and peaceful mood. Ernest Hennings was born in Pennsgrove, New Jersey to German immigrant parents. He studied painting at the Art Institute of Chicago for five years before beginning a career in commercial art. Later, he continued his education at the Royal Academy in Munich. After returning to the United States due to the onset of WWI, Hennings with the advice from two prominent patrons moved to Taos, New Mexico in 1921. A few years later he was invited to join the renowned Taos Society of Artists in 1924. His work is held in may prestigious museum collections across the country including Houston’s Museum of Fine Arts, the Pennsylvania Academy of Fine Arts, and Tulsa’s Gilcrease Museum.
Ernest Martin Hennings (1886-1956). “The Frozen Stream,” 1924. Lithograph in sepia tone. Image size: 10 x 10″. Sheet size: 14 3/4 x 14 5/8″. Titled by the Artist in pencil l.l. “The Frozen Stream”. Edition notation in pencil l.l. (13/50). Signed by the Artist in pencil l.r. E. Martin Hennings. Minor tear u.l. professionally repaired; small stain left margin. Archivally hinged, frame ready. Excellent condition. $5,500.
In Man With A Gaff, Frank Benson illustrates a fishing guide sitting alone on a log in an idyllic scene waiting to assist his client as fish approach, likely salmon. Using the etching technique of drypoint, Benson expressively captures this moment of solitude, emphasizing the guide’s connection with nature. His iconic pose is closely referenced from an earlier watercolor painting, Boiling the Kettle 1923, along with an additional reference to a previous print, The Guide 1920. Frank Benson was a member of The Ten American Painters, a group of important artists who were inspired by the works of the French impressionists. Benson’s portraits and paintings of leisure activities at the turn of the twentieth century remain extremely popular images of a bygone era. In his later paintings and prints of wildlife, however, Benson expressed his profound relationship with nature. As the founder and continued leader of the American school of the “sporting print,” the origins of Benson’s art form are to be found in his early life in Massachusetts where he grew up hunting and fishing. Indeed, many of Benson’s prints show the hunt, while others display the pure vitality of his animal subjects.
Frank W. Benson (1862-1951). “Man With A Gaff,” 1925. Drypoint etching on Whatman paper. Sheet Size: 14 7/8 x 13″. Image size: 11 1/4 x 9 3/4″. From an edition of 150. Signed by the Artist l.l. Archivally framed. Excellent condition. $5,000.
Howard Cook illustrates a tranquil scene within the historic Taos Pueblo. A lone figure is pictured seated upon the adobe wall enjoying the fleeting warmth of the setting sun as the cold shadows of the night start to inch closer. Utilizing a copper etching plate as his medium of choice, Cook documented a number of cultural and historical sites during his first sojourn to New Mexico from 1926 to 1929. The present print belongs to this inspired period. Cook wrote of his experience, “. . . here, long before tourism, was a living, colorful, strange, appealing Indian and Spanish culture right in an exciting, primitively beautiful part of our country.” The early New Mexico prints and some of his drawings were exhibited at the Museum of Fine Arts in Santa Fe in 1928. Howard Cook’s artworks are held in a number of important permanent collections including the Brooklyn Museum of Art, the Library of Congress, the Museum of Modern Art in New York, the Smithsonian Institution, the Philadelphia Museum of Art, the Whitney Museum of American Art, and the Roswell Museum and Art Center.
Howard Cook (1901-1980). “Taos Pyramids,” 1927. Etching from an edition of 50 on fine, tissue thin paper. 30 printed. 9 15/16 x 7 15/16″ at plate mark. Sheet size: 10 3/4 x 8 5/8″. Signed and annotated in pencil, l.r.: Howard Cook imp. Titled in pencil on verso lower margin. Overall, excellent condition for this rare print. SOLD.
George Elbert Burr sets an evening scene in the Painted Desert. A twisted cedar is illustrated in the foreground growing amongst the rocks with signs of looming weather overhead. Brilliant white cumulus clouds are set against a dark ominous sky with distant mountains and mesas in the background capturing the expanse and depth of this magnificent landscape. The velvety, rich black network of lines that create the image were applied using a technique called drypoint, this is where the copper plate is physically scratched with a sharp tool, the amount of pressure determining the size and tone of the line. This technique provides the artist with a quick and responsive method of working, as opposed to more time and labor-intensive etching processes. George Elbert Burr was an expert within the printing arts, famously renowned for producing images of the American West for early 20th century magazine illustrations. Burr’s work is found in a number of prestigious institutions including the Library of Congress, The Metropolitan Museum of Art, and the Brooklyn Museum of Art.
George Elbert Burr (1859-1939). “Evening, Painted Desert, Arizona,” 1928. Drypoint etching in black and white. Frame size: 12 x 14″. Image size: 5 x 7″. Signed by the Artist in pencil l.l. margin © George Elbert Burr. Copyright and Artist’s monogram in plate l.r. © [GB]. Titled by the Artist in pencil l.r. margin. Catalog Raisonné no. 269. Strong impression, excellent condition by sight. SOLD.
Offered here is a rare and beautiful color woodcut print by master printmaker Gustave Baumann. Unrivaled as both a craftsman and colorist, Baumann intricately carved and printed the six woodblocks that it took to create this exquisite image. The background is adorned with a luminous application of white gold leaf that is blind stamped with a decorative embellishment, making this specific print an outstanding and unique work of art. Although Baumann had produced floral still lifes in both tempera and woodcuts, the present print Tulips marks a departure from his previous work due to its minimalist composition and reference to landscape rather than still life. Having been numbered as 23 of 120, this magnificent woodcut by Gustave Baumann is from the first printing campaign of June 1930 when only the first 32 impressions were printed. Baumann’s work is held in a number of prestigious collections both public and private and is highly sought after by collectors to this day.
Gustave Baumann (1881-1971). “Tulips,” 1930. Color woodcut with gold leaf printed in six colors by the Artist on cream Zanders laid paper with the Hand-in-Heart watermark. Excellent color. From a projected edition of 120, the present example is from the first printing campaign and is numbered 23 of 120 in l.r. margin. Titled by the Artist in pencil l.l. T U L I P S. Signed by the Artist in pencil l.r. Gustave Baumann and stamped with the Hand-in-Heart chop. Image size: 13 x 12 3/4″. Sheet size: 17 1/8 x 14 3/8″. Archivally refit in the original period frame: 20 7/8 x 20 7/8″. Original label on verso reads: Original Color Woodcut. Drawn, Cut, & Printed in 6 colors by Gustave Baumann. Santa Fe, New Mexico. EDITION is limited to 125 of which this is No. 23. PAPER having a rag and flax fibre base is made especially for these woodcut prints. COLORS of tested permanence, are handground in varnish and applied to the block with a roller. PRINTING on a small handpress makes uniform color and accurate register possible, a separate block cut on basswood being required for each color. Some old mat burn, not distracting. Excellent oxidation on verso. Excellent condition for this rare and magnificent print. SOLD.
This outstanding original ink drawing by Howard Cook showcases his aptitude for precise and delicate details, which are most famously found in a number of his etchings and wood engravings. In the drawing offered here, Cook wonderfully captures a magnificent landscape of the southern Rocky Mountains in such an unforgiving medium. The scene is set with a herd of cattle peacefully grazing in front of a majestic backdrop of towering, snowcapped mountains. The grazing cattle are a primary component of the subject but are also cleverly used as a visual device to convey the scale of the vast mountain range behind them. Howard Cook’s work is held in a number of important permanent collections including the Brooklyn Museum of Art, the Library of Congress, the Museum of Modern Art in New York, the Smithsonian Institution, the Philadelphia Museum of Art, the Whitney Museum of American Art, and the Roswell Museum and Art Center.
Howard Cook (1901-1980). “Cattle Grazing,” 1933. Pen and ink and brush on fine toned paper. Image size: 12 x 16″. Handsomely framed: 17 1/8 x 21 1/8″. Signed and dated by the Artist in pencil l.r. Howard Cook 1933. Excellent condition by sight. $12,000.
Howard Norton Cook traveled to Mexico in 1932-1933 on a Guggenheim Fellowship in order to pursue “a pictorial study of a civilization unaffected by the machine age,” as he wrote in his application. The village of Taxco provided the perfect setting. Cook fell under the spell of the Mexican muralists, especially the work of Diego Rivera, whose aesthetic and stylistic innovations inspired a turning point in Cook’s work. In Fiesta, merrymakers, vendors, and animals fairly overflow a densely packed scene of calm conviviality. A musician strums a guitar and sings; imbibers crowd up to a canopied cantina; men jostle for glimpses of wares offered in nearby booths; and a woman in the foreground sells roosters. Cook achieves a sensitive depiction of local customs with a masterful manipulation of formal elements. Fiesta is one of Cook’s figural masterpieces. In 1942, this print won the Pennell Award at the Annual Exhibition of the Society of American Etchers. This is a rare opportunity to acquire one of the most outstanding and important prints by Howard Cook.
Howard Cook (1901–1980). “Fiesta, Taxco,” 1933. Etching from an edition of 50 on fine, tissue thin paper. 30 printed. 10 7/8 x 14 3/8″ at plate mark. Sheet size: 12 x 15 5/8″. Signed and annotated in pencil, l.r.: Howard Cook imp. 1933. Titled in pencil “Fiesta, Taxco” l.l. Note at l.l.: 50. Strong impression; mild staining u.l. margin that extends slightly into image area; very minor creasing u.r. and u.l. Otherwise superb condition for this extremely rare print. $20,000.
Offered here is one of George Bickerstaff’s best landscape paintings of Arizona. A sun-kissed saguaro cactus stands prominently in the foreground amongst a field of sage, catching the last glimpse of the setting sun. Cool hues of purple and blue are cast upon the mountains in the background with more expressive brush strokes. The slivers of clouds floating in the light blue sky slowly begin to take on a pinkish tint as they begin to reflect the distant sunset. Most notably known for his landscape paintings, Bickerstaff wonderfully captures in oil the fleeting moments of color and texture during a western dessert sunset. Born in Marianna, Arkansas in 1893, George Bickerstaff was primarily a self-taught artist except for a brief period of study at the Art Institute of Chicago. He was a prolific painter of mountain and desert scenes and often exhibited his work with artist Paul Lauritz.
George Bickerstaff (1893-1954). “Arizona Landscape,” c.1940. Oil on canvas. 16 x 20″. Presented in a handsome gold-toned period frame: 24 1/4 x 28 1/4″. Signed by the Artist l.r. Bickerstaff. Fine original condition. SOLD.
Gene Kloss transports the viewer through the medium of etching to the small village of Pilar, New Mexico located along the Rio Grande just south of Taos. A large cottonwood tree consumes the foreground providing much needed shade from the summer heat. Various other species of vegetation grows throughout the village due to the abundance of water from the nearby river. Pilar was formerly known as Cieneguilla, meaning “marshy place”, due to the swampy ground caused by the numerous streams running across it, which is the result of a bend in the Rio Grande. Small adobe dwellings and their inhabitants are shown navigating a typical day in the village. The steeple of a nearby Catholic church can be seen through a clearing in the overhanging branches of the cottonwood tree. A towering mesa comes into view as the sun stretches across it forming crevasses of light and shadow.
Gene Kloss (1903–1996). “Pilar – on The Rio Grande ,” 1945. Etching. Image: 8 7/8 x 12″. Sheet size: 11 3/8 x 15 5/8″. Titled by the Artist in pencil l.l. margin. Edition number “48/50” noted in l.l. margin. Signed by the Artist in pencil l.r. margin. Strong impression. A few, faint fox marks top, left, and bottom margins. Archivally hinged, frame ready. Excellent condition. $6,500.
Photograph by Dick Spas: Gene Kloss in her studio with her press and one of her etchings, 1974.
Gene Kloss wonderfully captures the full energy and movement of this iconic scene at Taos Pueblo. Kloss’ expert ability in etching is evident in Ceremonial Day at Taos through the economy of line and tone with which she has successfully rendered the earthen adobe structures and figures in motion. Energetic rain clouds are shown passing above the towering mountain range in the background, a welcoming sight for this arid region. Taos Pueblo is a UNESCO World Heritage site that has been occupied for some 1,000 years. Born Alice Geneva Glaiser, the artist took her husband’s last name and used “Gene” as her first. She and Phillips Kloss were native to California and first visited New Mexico on their honeymoon in 1925. For many years, the couple lived part-time in Taos and spent winters in Berkeley, then moved permanently to Taos after World War II. In the 1920s, Gene was able to make a meager income selling her prints. Then during the 1930s, she was given the opportunity to fully develop her art within the easel division of the Works Progress Administration’s Federal Art Project.
Gene Kloss (1903–1996). “Ceremonial Day at Taos,” 1953. Etching. Image: 9 x 11 7/8″. Sheet size: 11 3/8 x 14 3/4″. Artist’s notation in pencil: “II”, in l.l. margin, indicating the print as an Artist’s Proof. Titled by the Artist in pencil l.l. margin. Signed by the Artist in pencil l.r. margin. Strong impression. A few, faint fox marks in margins. Archivally hinged, frame ready. Excellent condition. $5,000.
Offered here is a magnificent and vibrant monotype by the renowned modernist artist Janet Lippincott. This unique, one of a kind print was created through the artist’s application of ink and collage elements onto a flat printing plate. The paper was then laid over the plate and everything was sent through the etching press, printing the ink and applying the collage material to the paper all in a single pass. The exquisite combination of the flat, dense color fields along with the textured the delicate qualities of the collage paper makes for an intriguing composition. Janet Lippincott is counted among the pioneers of modernism in New Mexico, and is now considered one of the most significant modernists of the southwest. Her development as an abstract artist is often attributed to her experiences during World War II, and her admiration for Pablo Picasso. Her work is held in a number of prestigious collections across the country.
Janet Lippincott (1918-2007). “The Outlet,” 1993. Monotype on heavy paper with chine collé elements, published by Graphics Workshop Santa Fe. 1/1. Sheet size: 29 1/2 x 29 1/4″. Image size: 23 1/4 x 23 3/8″. Titled lower left. Publisher’s blind stamp lower left. Signed and dated by the Artist lower right. Archivally framed in a beautiful presentation. Frame size: 35 x 35″. Strong impression, excellent condition. On Hold.
