A superior 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.
Willem Janszoon Blaeu (1571-1638). “Americae nova Tabula,” (Amsterdam, 1635 ). Dutch Edition. Published in Nieuwe Atlas. Copperplate engraving with fine original hand-color, oxidation on verso. 16 1/8 x 21 7/8″ to neat line, plus full margins. Sheet size: 16 3/4 x 22 3/4″. Inset, u.r.: “Groenlan” (Greenland). Title on verso: “AMERICA, Ofte DE NIEVWE WERELD. Excellent condition. SOLD.
Girolamo Ruscelli (c.1500-1566). “Nueva Hispania Tabula Nova,” (Venice: Vincenzo Valgrisi, 1562) First state, Latin edition. Published in La Geographia. Copperplate engraving, black and white as issued. Description on verso: “NOVÆ HISPANIÆ noua Tabula,” 7 1/8 x 9 11/16″ at neat line. Sheet: 9 3/4 x 12 5/16″. Strong impression; minor transference; faint age toning along centerfold; running plate mark at top. Archivally framed and in excellent condition. $3,000.
Girolamo Ruscelli’s classic map of Mexico, the American Southwest, and the Gulf Coast is an enlarged version of master cartographer Jacopo Gastaldi’s prototype map of 1548 which Gastaldi included in his new edition of Ptolemy’s Geography. For that edition, Gastaldi added his engraved maps of the New World, making “Nueva Hispania” the first map specifically devoted to New Spain and one of the first copperplate maps devoted to a region of the American continent. Thirteen years later, noted geographer Ruscelli produced a revised version of Gastaldi’s edition, but with important innovations. The map offered here is the 1562 Latin edition of Ruscelli’s variation. He correctly shows the Yucatan and the Baja as peninsulae and improves the geography of the upper Gulf Coast to reflect the explorations of the great early Spanish explorers—Piñeda, Cabeza de Vaca, and Moscoso. The Mississippi River, here named Rio de Spiritu Santo, was rendered as accurately as the limited experience in the New World allowed.
John Speed’s wonderful county map of “Cambridgshire” offered here comes from a later edition of his renowned work, The Theatre of the Empire of Great Britaine. One of the most influential atlases of the British Isles ever published; the Theatre compiled maps of the individual nations of Great Britain, as well as the famous separate maps of each county, as in the present example. Speed based “Cambridgshire” and his other county maps on the prototypes of Christopher Saxton and John Norden, he updated information wherever possible and included new cartographic features. He did not, for example, show roads, but he took great pride in recording the boundaries of the “hundreds” (English county divisions) and illustrating town views, as shown in the inset of the University of Cambridge at the top left. Speed’s exceptional map shows a great deal of embellishment, including the nobly engraved Tudor Royal arms and those associated with the University’s colleges and of Earls and Dukes. Prominently depicted in pairs at the bottom of the document are dignified scholars adorning historic academic costume, one of which is cleverly shown holding the map scale.
John Speed (1542-1629). “Cambridgshire,”. (London: Bassett & Chiswell, 1676, ). Published in The Theatre of the Empire of Great Britaine. Copperplate engraving with period full and outline color. Full margins. 15 x 20 1/2″ to decorative border. Sheet size: 16 1/2 x 21 3/8″. Large inset map of the University of Cambridge u. l. Magnificent title cartouche with the British Royal Coat of Arms u. r. Slight discoloration along upper and lower margins, otherwise fine condition. $2,500.
Johann Baptist Homann (1664-1724). “Amplissima Regionis Mississipi seu Provinciae Ludovicianae. . . [Mississippi Basin and Louisiana Province],” (Nuremberg: Io. Bapt. Homanno, c. 1720 [–1763]). Double-page copperplate engraving with bright, original full and outline hand color. 19 1/8 x 22 5/8″ at neat line. Sheet size: 21 3/8 x 25″. Full margins. Latin and French text. Nice oxidation on verso; ink smudge on verso l. l. quadrant. Excellent condition. Overall, a fine, dark strike. $5,400.
German cartographer Johann Homann’s “Louisiana Province” is one of the most attractive early maps of the American interior—as well as being politically provocative. It essentially represents the eastern half of North America, but focuses on the enormous region called “La Louisiane,” the ownership of which had been a political hot button issue between Spain and France throughout the 1700’s. Homann’s model for the present map was Delisle’s important “Carte de la Louisiane et du Cours du Mississipi” of 1718. However, he departs from the Delisle model in his delineation of the Spanish territory of Florida, which he shows as occupying primarily the Southeast, but with a boundary reaching as far north as the Appalachian mountain range. Wonderful cartouche designs include illustrations of Father Hennepin atop Niagara Falls, and an exquisite depiction of the American Woods Bison. There were different color schemes on this map as well, and presented here is the preferred full original color example with uncolored cartouches as issued in fine condition. This is a wonderful example of one of our most favorite maps.
This exceptionally handsome map by Johann Homann depicts North America from the British colonies of the eastern seaboard west to New Mexico and south to include Panama, Venezuela, and the entire West Indies archipelago, with each area of European territorial claims colored separately. Homann’s map is especially fine for its depiction of the course of the Mississippi, the Great Lakes region, and the Rio Grande valley of Nova Mexico, showing Spanish and Indian settlements as far north as the fabled city of Quivira. In the first state of “Regni Mexicani” (1712) the lower Mississippi region was designated as Floridae, reflecting earlier Spanish claims (even though the French had established a colonial government in Mobile by 1702). In the present map, the same territory in red appears as Ludoviciana (Louisiana). The greater Florida peninsula was still under Spanish control at the time Homann issued the present map, but perhaps French possession was assumed through their control of Pensacola in 1719.
Johann Baptist Homann (1664–1724). “Regni Mexicani seu Novae Hispaniae, Ludovicianae, N. Angliae …,” (Nuremberg: c.1720). Copperplate engraving with period outline and full color. Green outline color showing oxidation on verso. 18 5/8 x 22 3/8″ at neatline. Sheet: 19 1/4 x 23″. Slightly narrow margins; Manuscript notations on verso; Previous owner or Institutional stamp on verso in purple ink; Cartouche and vignettes are uncolored as issued. Generally very good condition for this decorative and popular map of Mexico. SOLD.
Offered here is a unique tour-de-force that encapsulates the rich history of New Spain. This outstanding work by Francesco Antonio Lorenzana features letters from Hernán Cortés’ conquest, two rare maps relating to the discovery and exploration of the region, and intricate illustrations that portray significant cultural information regarding the Aztecs. Presiding as archbishop of Mexico from 1766-1772, Lorenzana displayed great enthusiasm for advancing the religious, social, and educational interests and printing arts of Mexico during his bishopric. Expertly printed by Hogal, this book contains an outstanding map of New Spain by José Antonio de Alzate y Ramírez, which was one of the first maps to apply the name Texas to the entire geographical region. Lorenzana states within the text that the map of California (in its first printing) by Castillo, which was published with this book, was created by copying the original document from the Archives of the Cortés family, and has been citied as being the first map to bear the name California.
Provenance – Dorothy Sloan, Auction 22. Description used with permission.
Francesco Antonio Lorenzana (1722 – 1804). “Historia del Nueva-España, escrita por su esclarecido conquistador Hernán Cortés,” (Mexico: Hogal, 1770). First edition of a masterpiece of Mexican colonial printmaking, with important historical content and superb maps and plates. Title page printed in red and black and with allegorical copper engraving of America. Thirty-four copper-engraved plates; including frontispiece of Cortés allegorically presenting the New World to Carlos V, Great Temple of Mexico, codices, such as Veytia Calendar Wheel no. 5 & Codex Matricula de Tributos, copper engraved initial in prelims, a few wood engraved ornaments; plus two folding maps. Small folio, 19th century brown sheep; spine gilt rolled and stamped with floral motif, brown leather spine label lettered in gilt, grey marbled endpapers, edges tinted red. Expertly re-backed, original spine and leather label preserved. Nine leaves at end (contents) supplied from another copy and remargined to size. Occasional minor foxing. Overall a fine, complete copy (seldom found thus), with excellent impressions of the maps and engravings. SOLD.
In the present map by John Cary, Mexico appears with its Spanish Intendancies separately outlined and colored, showing a historic view of the pre-independent Mexico. Several early Texas settlements are shown, including San Antonio, Galveston, San Saba, and Nacogdoches, within the Intendancy of San Luis Potosi. New Mexico settlements along the Rio Grande include Albuquerque, Santa Fe, and Taos. Part of Louisiana Territory also appears with several early settlements. At Valle Salado (which translates from Spanish as ‘Salt Valley’), part of a lake is shown bearing the note “The Western Limits of this lake are unknown,” and likely represents the Great Salt Lake in today’s State of Utah. In addition, many Indian territories and villages are named. Some early roads appear, while lakes and river systems are very well mapped, as they constituted the main conduits of trade at the time.
John Cary (1755 – 1835). “Mexico,” (London: Printed for John Cary, 1813). Published in Cary’s New Universal Atlas. Copperplate engraving on heavy paper with beautiful, original hand color. 11 3/8 x 9 1/8″ to neatline. Sheet size: 15 1/8 x 11 7/8″. Old hinge remnants on verso. Full margins. Strong impression; bright color. Excellent condition. Sold.
Ambroise Tardieu’s outstanding map depicts Mexico during the year that it gained its independence from Spain. The format of the map offered here is familiar because it is based directly on Alexander von Humboldt’s famous map of New Spain published in 1811. Although the present map was published during the year of Mexico’s independence and is titled as being a map of Mexico, it still shows a territorial layout similar to its Spanish colonial status (New Spain). This is apparent through the notation of the various intendancies throughout the region, which are described as provinces that were governed by Spanish appointed intendentes. Early Texas settlements are named in the Intendance De St. Louis Potosi, which includes San Jose, San Antonio, and Loredo (Laredo). The placename Texas also appears in this region marking the beginning of its autonomous journey. This is one of the few regional maps created during this period that focuses on Texas and the Rocky Mountains.
Fielding Lucas’ wonderfully illustrated and hand colored map offers a fascinating early view of Arkansa Territory, which is shown stretching west, covering most of present day Oklahoma. This example is one of the few maps to illuminate this rare configuration of Arkansa Territory before the Reduction Act of 1824, which in turn drastically reduced its size. The northern border is comprised of both Missouri State and Missouri Territory and to the south and west it shares the boundary line that separates the United States from Spanish Territory. Important historical information regarding Native American tribes and their corresponding boundaries are noted including the Osage Line, Choctaw Boundary, Cherokee Line, and Quawpaws. These boundary lines were the result of various treaties that marked the first land set aside for Native Americans in this region. This rare first state of Lucas’ map depicts the title as Arkansa Territory where as later issues of this map have corrected the title to Arkansas Territory. According to Rumsey, there are only two known examples of the atlas that contains this state of the map.
Fielding Lucas (1781-1854). “Arkansa Territory”. (Baltimore: F. Lucas, 1823). Published in A General Atlas, Containing Distinct Maps of All the Known Countries in the World, pl. 74. Copperplate engraving by B. T. Welch and Co. with fine original hand color. 8 1/4 x 11 1/4″ to neatline. Sheet Size: 11 1/2 x 14 7/8″. Strong impression on heavy paper; Full margins; Slight, light inking left portion of map. Excellent condition. Sold.
Lt. Washington Hood (1808-1840). “Map of the United States Territory of Oregon West of the Rocky Mountains,”. (Washington, D.C.: 1838). From: Report of Mr. Linn, Senate Document No. 470, 25th Congress, 2nd Session, dated June 6, 1838, to Accompany Senate Bill No. 206, to authorize the President to occupy the Oregon Territory. Copperplate engraving, black & white as issued. Full sheet size: 18 1/2 X 21 3/8″. Very minor transference and old folds evident, as usual. Overall, a superb clean example in fine original condition. $2,500
This fascinating and important map by Lt. Hood synthesizes the most authoritative cartographic sources of the day, ranging from Lewis and Clark’s ground breaking 1806 (1814) map through Arrowsmith’s monumental 1834 work and the latest sources by Gallatin (1836), Tanner (1836) and Bonneville (1837). Noteworthy details include Native American tribes, fur trading posts, government forts, and other important stations along the river networks of what is now Oregon, Washington and British Columbia. This clear map provides the collector with a beautiful and affordable opportunity to study the travels of Lewis and Clark and the impact of their expedition on mid-nineteenth century American settlement. Hood’s map of the Oregon Territory was published to illustrate the most eloquent American attempt to annex the Pacific Northwest to the Union. Overall, the map offered here is a superb example of this important early documentation of the Northwestern Territories in the final years before its definitive division into American and English possessions.
Highlighted here is a wonderful map of the United States and Texas by W. H. Lizars, which shows the entirety of the country during the highly transitional period of the mid 19th century. A blue line delineates the separation of the organized east from the vast undeveloped expanse of the west. It is shown running south along the Mississippi River from the Canadian border, around the Missouri and Arkansa Territories, and down the western boundary of the Republic of Texas. To the west of this line lies a sweeping Missouri Territory and the Great American Desert, which includes the central plains and is occupied by a number of Indian tribes such as the Dakoutas, Pawnees, Osage, and Sioux. Kansas is named and a rare form of Arkansa Territory is shown taking up most of present-day Oklahoma. It’s capital is shown as Arkopolis, which was later changed to Little Rock. The Northwest Territory is comprised of Wisconsin and much of Minnesota in addition to a wonderfully illustrated Great Lakes region that is shown accurately.
H. Lizars (1788-1859). “United States & Texas. With All the Railways & Canals,”. (Edinburgh: Lizars, ca.1842). Published in Lizar’s Edinburgh Geographical Atlas, page: LXIII. Copperplate engraving with original outline color. 16 1/4 x 20 1/2″ to neatline. Sheet size: 18 7/8 x 22 1/4″. Full margins. Minor tear l. r. margin, repaired. Overall, excellent condition. Sold.
Carl Christian Franz Radefeld (1788-1874). “Texas Nach den besten Quellen” [Texas from the best sources], 1846. Published in Meyer’s Handatlas. (Hildburghausen, Germany: Stich, Druck und Verlag, Bibliographischen Instituts, 1846). First edition. Engraving with original hand color. 11 1/2 x 14″ to neatline. Sheet: 14 3/4 x 17 1/8″. Bright and clean. Slight age toning in margins. Very fine condition. SOLD.
This scarce and elegant map of the new state of Texas by Carl Radefeld comes from Joseph Meyer’s Handatlas. The atlas contained many maps of the Americas, including maps of U.S. states and its territories that were derived from Henry Tanner’s fine New Universal Atlas of the World (1839). The present map, however, is based on William H. Emory’s 1844 “Map of Texas,” the map used by the U.S. government in its annexation of Texas in 1845. Radefeld’s map shows a Texas with its western border following the Rio Grande beyond Santa Fe and continuing north to the Platte River (in present-day Nebraska). Although New Mexico is labeled along the Rio Grande, the area is not delineated. To the southeast, Texas reaches as far as the Mississippi River. In the present edition, Mexico still includes those parts of Upper California that would eventually be taken by the U.S. in the Mexican-American War. Radefeld’s map indicates perhaps the most expansive Texas borders of any published map.
Offered here is a wonderful example of John Tallis’ celebrated map of the United States, most notable for its mapping of the newly formed State of Texas (1845). Texas is depicted here in an odd configuration, and shares a border to the north with an irregular New Mexico and Western Territory, or what is commonly known as Indian Territory. Other changes from earlier editions that appear in this map include the addition of the territories of Minnesota, Nebraska, Missouri, New Mexico and a Western Territory. Tallis’ mapmaking was precise and highly detailed, but also illustrative as exemplified in the present map. The elaborate border that surrounds this map incorporates portraits of George Washington and Benjamin Franklin. Several vignettes in Tallis’ “United States” pay homage to American history and art. The maps produced by John Tallis represent the pinnacle of nineteenth-century illustrated mapmaking.
John Tallis (1817-1876). “United States,” (London & New York: John Tallis & Co., 1851). Published in The Illustrated Atlas, And Modern History of the World, Geographical, Political, Commercial, and Statistical. Engraving by J. Rapkin with fine original outline hand color. 9 1/2 x 12 3/4″ to decorative border. Sheet: 10 1/2 X 14″. Vignettes include medallion portraits of George Washington and Benjamin Franklin as border elements, the United States seal and coat of arms, and inset illustrations of Washington’s Monument, a buffalo hunt, and “Penn’s Treaty with the Indians”. Blank on verso. Slight age toning in margins. Excellent condition. $850.
Here is an exceptional mapping of the American Southwest and Mexico by John Tallis, featuring Texas in its Republic configuration, with its Northwestern corner reaching all the way into present day Wyoming. Bordering Texas to the west is a large region named New or Upper California, even though the state of California was already in existence. A brightly colored area in yellow represents the newly discovered Gold Region of California, and follows the path of the R. Sacramento and the Rio San Joaquin. Depicted to the south is the Mexican border, which is shown in pre-Gadsden delineation, along with the notation of numerous Native American tribes that inhabited the Southwest region. Mexico is shown with its states outlined. The decorative border that frames this map incorporates images of native plants, vegetables, and fruits. Highly detailed inset illustrations appear throughout the map depicting the process of gold washing, the famous Mayan Ruins at Uxmal, Yucatan, along with views of Mexican rural life.
John Tallis (1817-1876). “Mexico, California and Texas,” (The London Printing and Publishing Co., c. 1851). Published in The Illustrated Atlas, And Modern History of the World, Geographical, Political, Commercial, and Statistical. Engraving by J. Rapkin with fine original outline hand color. 9 3/4 x 13″ to decorative border. Sheet: 10 3/4 x 14 3/8″. Inset illustrations include scenes of Gold Washing, Mexican Peasantry, and the famous Mayan Ruins at Uxmal, Yucatan. Blank on verso. Slight age toning in margins. Excellent condition. $900.
Warner & Beers/H.H. Lloyd. “County Map of Texas and Indian Territory,” (Chicago: Warner & Beers, 1875). Published in H.H. Lloyd and Company’s Atlas of the United States, p.79. Lithograph with full, original bright hand color. 16 5/8 x 14 3/8″ to decorative border. Sheet size: 17 7/8 x 15 5/8.” Minor tear u.l. margin, repaired. Binding punctures left margin. Excellent condition. $975.
Warner & Beers’ fantastic map offers a scarce view of this rapidly developing region along with important notations documenting the various tracts of land assigned to many Native American tribes. Texas is shown as being heavily developed in the eastern portion of the state as seen through the multiple county delineations. The western half of the state is divided up into large, sparsely settled districts and territories that include Young Territory, Bexar District, El Paso, and the newly created Pecos County (created from Presidio County). Surprisingly enough, a very rare and unique appearance of the proposed Wigefarth County is shown in the lower Panhandle along the border of Indian Territory. However, this county name is misspelled on the present map and should be spelled as Wegefarth. It was named after Conrad Wegefarth who was a German-American oil refiner and the President of the Texas Immigrant Aid and Supply Company. The county’s boundary line is only partially engraved with the northern border only defined by hand coloring. Wegefarth County was only in existence from 1873 to 1876 when the Texas Legislature created fifty-four new counties in the Panhandle region. This is perhaps the only known map that depicts this rare county.
Page’s “Colorado” records the state shortly after it entered the Union in 1876 and is likely the largest hand-colored map of Colorado to appear in an atlas at the time. The sizes of the colored counties are good graphic indicators of settlement patterns, with the smaller counties having denser populations. Eventually, as Colorado became more populated and developed, the shape of its counties would continue to change. Railroads already form a significant network throughout the state, reflecting the rapid pace of mining activity. Perhaps one half of the territory has been divided into township grids, which roughly follow the railroads, and reveal the progress of government surveys. The Continental Divide is emphasized on the map with a dashed line, and many prominent mountain peaks are named throughout the state (i.e., Longs, Pikes). Two delightful vignettes appear on either side of the map, depicting a mining scene and an idealized Indian huntress. This large and impressive map represents one of the earliest maps of Colorado in its first edition.
R. Page. “Page’s Map of Colorado 1881”. (Chicago: H. R. Page & Company, 1881). Published in Illustrated Historical Atlas of Wisconsin, pp 58–59. Double-page lithograph with original hand color. 16 x 24 1/2″ at decorative border. Sheet: 18 x 28 1/8.” Vignettes of miners, left margin and an Indian woman, right margin. Clean example with a strong impression. Excellent condition. $4,750.
E. Gallup Map Co. “Tri-State Oil Map Kansas-Oklahoma-Texas, With Portions of Old and New Mexico,” (Kansas City: F. E. Gallup Map Co., c.1920). Lithographed folding map. Printed in black ink on thin paper. Hand colored red dots indicate oil and gas fields in production. Manuscript county delineations. Original booklet included, with some wear. Neatline: 28 5/8 x 20 3/4″. Sheet size: 30 x 22″. Minor wear on some fold lines; remarkably good condition. $2,500.
The fantastic map offered here by F. E. Gallup Map Co. represents the expanse of oil and natural gas exploration throughout Kansas, Oklahoma, and Texas during the early 20th century. Illustrations of oil derricks scattered across the region indicate new oil and gas development whereas the hand colored red dots highlight sites that are in full production. This map provides an extensive overview of oil and gas expansion throughout Texas before the discovery of the famous East Texas Oil Field, which did not become successful until 1930. Shown here is a wonderful historical snapshot of the early days of natural resource extraction and locates “Spindle Top”, which was the first Texas gusher, and illuminates the advancement of exploration after it’s debut. Major development is also shown taking place in northeastern Oklahoma and southeastern Kansas. These types of maps were constantly in flux as new discoveries were made and ownership changed hands. This outstanding map includes wonderful personal manuscript outlines that show possible exploration sites by the previous owner.
This wonderful illustration depicting a sacred Aztec ritual first appeared in Antonio de Solis y Ribadeneyra’s classic work Historia de la Conquista de Mexico, which was one of the most renowned pieces of Spanish historical literature to document Spain’s conquest of Mexico. The print offered here depicts the visceral scene of an Aztec sacrificial ceremony as described by Hernán Cortés during his conquest of Mexico. Human sacrificial offerings were embedded deep within Aztec culture and were made to the gods during important calendar dates in order to sustain the Universe. These ceremonies were typically held at the top of a temple where the victim was held down upon a chacmool (stone slab/statue) and a priest would extract their still-beating heart with a tecpatl (ceremonial knife) and place it in a bowl held by a statue of the honored god. The lifeless body would then be thrown down the stairs to the terrace at the base of the temple as depicted here where spectators are shown dancing in celebration.
[After] Antonio de Solis y Ribadeneyra (1610-1686). “El Grande Templo de Mexico,” c.1704. Published in “Historia de la Conquista de Mexico”. Copperplate engraving on thin paper with deckled edges. Image size: 8 x 11″. Sheet size: 14 1/8 x 17 1/2″. Full margins. Minor creasing and scuffing in margins; slight age toning. Good condition. $495.
[After] Antonio de Solis y Ribadeneyra (1610-1686). “La Villa De Mexico,” c.1704. Published in “Historia de la Conquista de Mexico,” Copperplate engraving on thin paper with deckled edges. Image size: 8 x 11″. Sheet size: 14 1/8 x 16″. Full margins. Minor creasing and scuffing in margins; slight age toning. Good condition. $495.
This magnificently illustrated image of Mexico City first appeared in Antonio de Solis y Ribadeneyra’s classic work Historia de la Conquista de Mexico, which was one of the most famous pieces of Spanish historical literature to document Spain’s conquest of Mexico. First published in 1684, the book did not contain illustrations until a later issue was published in 1704 (4th edition). This fantastic print displays a sweeping and historic view of Mexico City at the early stages of Spanish colonial rule. Previously, this cultural center was known as the Aztec capital of Tenochtitlán. Initially the Aztecs built their ancient capital over Lago de Texcoco on an artificial island that was created by dumping soil into the lagoon. After Spain’s conquest of the Aztec capital in 1521, they soon began building what is now known as Mexico City on top of its ruins. During the Spanish colonial period (1535-1821), Mexico City became one of the most important cities in the Americas.
The spectacular print offered here is from John James Audubon’s most famous work, The Birds of America, which was printed in London by Robert Havell. Audubon’s goal for this unprecedented project was to depict all known bird species found on the North American continent and to produce life-sized illustrations of them. The engraving here presents the bird known as the Kentucky Warbler, or Sylvia Formosa (Linnaean classification). Susanne Low notes that the image “depicts a male, left, on a branch of an Umbrella Tree, and a female, upper right, on a stem not connected to the branch the male is on”. Audubon likely painted the image in Louisiana or Mississippi in 1822. The print exemplifies Audubon’s superior skills as an artist of the natural world, as well as Robert Havell’s as the premier engraver and printer of his age. This beautiful print displays a strong impression and exquisite hand coloring from one of the great works of the nineteenth century. The Kentucky Warbler makes a splendid companion to the Blue-eyed Yellow Warbler, which is also available.
John James Audubon (1785-1851). “Plate 38: Kentucky Warbler”, SYLVIA FORMOSA. Male, 1. Female, 2. White Cucumber Tree, MAGNOLIA AURICULATA. (London: R. Havell, 1828). Published in The Birds of America. Double elephant folio sheet; hand-colored engraving with aquatint and etching on J. Whatman paper. Sheet size: 38 1/16 x 25 5/16″. Frame size: 40 7/8 x 32 3/4″. Examined out of the frame. Full sheets appear to be in excellent condition. $3,750.
John James Audubon (1785-1851). “Plate 95: Blue Eyed Yellow Warbler or Yellow-poll Warbler”, SYLVIA ÆSTIVA, Plant Wisterea. (London: R. Havell, 1830). Published in The Birds of America. Double elephant folio sheet; hand-colored engraving with aquatint and etching on J. Whatman paper. Sheet size: 38 9/16 x 25 13/16″. Frame size: 40 7/8 x 32 3/4″. Examined out of the frame. Full sheets appear to be in excellent condition. $3,750.
Offered here is an outstanding example from John James Audubon’s most famous work, The Birds of America, which was printed in London by Robert Havell. Audubon’s goal for this unprecedented project was to depict all known bird species found on the North American continent and to produce life-sized illustrations of them. The engraving here presents the bird known as the Blue-eyed Yellow Warbler, or Sylvia Æstiva (Linnaean classification). Susanne Low notes that the image “depicts a male in a branch of Atlantic Wisteria. In Ornithological Biography, Audubon wrote: ‘I made my drawing of this species near Natchez and having killed the specimen while it was searching for insects among the flowers of a large flowering plant I have figured part of…’” Audubon created his original painting of the Blue-eyed Yellow Warbler, or Yellow Warbler, while living in Natchez from March 1822 to October 1823. The print exemplifies Audubon’s superior skills as an artist of the natural world, as well as Robert Havell’s as the premier engraver and printer of his age. This beautiful print displays a strong impression and exquisite hand coloring from one of the great works of the nineteenth century. The Blue-eyed Yellow Warbler makes a splendid companion to the Kentucky Warbler, which is also available.
Thomas Lorraine McKenney was Superintendant of Indian Affairs under presidents Madison, Monroe, John Quincy Adams and Jackson, with a keen interest in the customs and beliefs of the Indians he came to know so well. James Hall was a frontier lawyer, judge, newspaper editor, and author who helped McKenney put together the portfolios. Together they turned the portraits into a coherent representation of Indian life, lore and costume. Published as a three-volume set between 1836 and 1842, the hand-colored lithographs after paintings by Charles Bird King are among the only portraits remaining of this early generation of Indian warriors, statesmen, medicine men, and even commoners. The original paintings, which were on display in the Smithsonian Institution, were destroyed by fire in 1865. “This Sauk and Fox chief is believed to have visited Washington in the summer of 1837 when large Indian delegations streamed in and out of the capital. At one time seventy-four chiefs and warriors of various tribes held councils for days before the harried President or Secretary of War could grant them an audience. The Sauk and Fox party alone numbered twenty-six warriors, four women and four children.”
Col. Thomas L. McKenney & James Hall. “TAH-COL-O-QUOIT,” A Sauk and Fox Chief. From The History of the Indian Tribes of North America,” Folio edition. (Philadelphia: 1836 – 1842). Lithograph with exquisite bright original hand color, after paintings by Charles Bird King. The portrait listed below is among the finest compositions from McKenney & Hall’s work. This extremely fine example is framed to archival standards in a beautiful decorative gold tone frame. Excellent condition. $5,000.
This full-length printed portrait of “Osceola”, the famous Seminole warrior, is one of the great Native American portraits of the nineteenth century by George Catlin. This exceptional print is considered to be one of the most rare because it was separately issued. Proudly depicted is one of the great heroes of the Seminole Wars in Florida, Osceola (“The Black Drink”), and whose companions had eluded American troops for many years. After twenty years of guerrilla warfare, Osceola’s defiant band was captured, treacherously seized in violation of a truce. By this time there was considerable white sympathy for the Indian warriors, particularly for Osceola, and the Commissioner of Indian Affairs engaged George Catlin, well known for his gallery of portraits of Plains Indians, to portray the Seminole prisoners. The present portrait of Osceola is considered his single greatest portrait: he communicates a noble quality of character, and a commanding presence that is missing from most of his other likenesses.
George Catlin (1796-1872). “Osceola of Florida. Drawn on stone by George Catlin from his Original Portrait…” (New York: George Catlin, 1838). Lithograph by George Catlin with fine original color as issued. Sheet: 28 3/4 x 21 1/2″. Image: 26 x 19 1/2″. Framed in a beautiful composite frame with gold fillet, French matting, and museum quality TruVue glass. Frame size: 40 x 32 1/2″. One skillfully repaired tear in bottom margin, 1/2″ of margin added on the right side and to a portion of the left side. Some staining in bottom margin, and by Osceola’s leg. Otherwise, excellent condition for this rare print. SOLD.
Albert Bierstadt (1830-1902). “The Rocky Mountains, Lander’s Peak,” (London: Thomas McLean, 1869). Chromolithograph on heavy paper. Drawn by Jacob Lutz, printed by Kell Brothers. Signed and dated lower right ABierstadt 1863, mimicking the original painting of 1863. Full sheet: 19 x 32 1/4″. Archivally framed in gold leaf. Good condition for this beautiful print after Bierstadt’s monumental painting. $18,000.
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. Albert Bierstadt was more than the great recorder of the American western landscape. He possessed, according to Nancy K. Anderson, a “near-perfect combination of technical expertise, European experience, national enthusiasm, and marketing savvy—everything required to turn the western landscape into an iconic image of national definition.” The magnificent chromolithograph offered here was created after the original painting of 1863, and in turn beautifully preserves his masterful draftsmanship and appealing palette.
From 1832 to 1834 Swiss artist Karl Bodmer accompanied the Prussian naturalist Alexander Philipp Maximilian, Prince of Wied-Neuwied, to America as the illustrator on an expedition into the upper Missouri River country. The expedition was an unprecedented scientific endeavor to record in detail the landscape, natural history, and aboriginal life of the American wilderness. The expedition went as far as Fort McKenzie, Montana, the western-most outpost of the American Fur Company. It was on their return journey to Fort Clark that the party encountered the majestic scene depicted here in Herds of Bisons and Elks on the upper Missouri. Bodmer’s incredible landscape beautifully depicts the pristine nature and abundant wildlife of the American frontier in the early nineteenth century.
Karl Bodmer (1809–1893). “Herds of Bisons and Elks on the upper Missouri,” Tableau 47 from Travels Into the Interior of North America (Paris, Coblenz and London: 1839-1842). Aquatint and etching with superb original color by Ch. Vogel after Bodmer. Highlighted with gum Arabic. Original black rule around image. Full margins. Blindstamp: CH. BODMER Del. Image size: 10 1/4 x 12 11/16″. Plate mark: 14 3/16 x 16 1/2″. Sheet size: 17 7/8 x 24 1/2″. Minor printers wrinkle in sky u.r. Sheet is in excellent condition. Beautiful example of one of Bodmer’s best landscapes. Excellent condition. Sold.
George Catlin (1796-1872). “Catlin’s North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America… (London: C. & J. Adlard for Geo. Catlin, 1844 ). First edition, standard issue. Title-leaf, 9 text leaves, 25 hand colored lithographs. Photographs of each plate available upon request. Bound in modern half maroon morocco, with original gilt-lettering publisher’s boards, a few stains to cloth. Overall, a very attractive and remarkably clean set of this important production, with exquisite original color and only the slightest marginal spotting. $130,000.
Offered here is an outstanding example of George Catlin’s famous color plate book of scenes of Indian life in the American West. This copy is the standard issue, published by Catlin himself in 1844 or 1845. In the present set, the plates have been expertly bound into the original boards, with a very attractive modern half leather binding. The illustrations show buffalo and other hunting scenes, sports and dances, and portraits of individual Indians. They are based closely on originals painted by Catlin in the West between 1834 and 1836, and exhibited in his Indian Gallery in London. The Indian Portfolio is second only to Bodmer’s atlas of Maximilian’s travels, as the most magnificent work about the American West during the 19th century. Catlin self-published the earliest issues of his important production, before the artist’s perpetually inchoate finances made it necessary for him to sell the right of the Indian Portfolio to the English publishing entrepreneur Henry Bohn. The present is a fine example of Catlin’s issue, in very clean condition.
This excellent example of McKenney and Hall’s renowned color-plate book documenting significant Native Americans includes portraits and extensive biographies of the important leaders and personalities throughout North America. The exquisite portraits found within this set are after the paintings of artist Charles Bird King, who was employed by the War Department to capture the portraits of visiting Native American delegates to Washington D.C. Along with their writings about the various tribes of North America, McKenney and Hall, together, turned these portraits and their descriptions into a coherent representation of Indian life, lore, and costume. This complete fourth octavo edition of their renowned work is an exquisite testament to the invaluable documentation of the Indian Tribes of North America in the final days of their full glory.
Col. Thomas L. McKenney & James Hall. “History of the Indian Tribes of North America, With Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished With One Hundred and Twenty Portraits from the Indian Gallery in the Department of War, at Washington”. (Philadelphia: D. Rice & A. N. Hart, 1858). Fourth edition. Three 8vo volumes complete with 120 hand-colored lithographs printed and colored by J. T. Bowen. Bound in contemporary brown full morocco, with stamped, two-tone decorative panels on covers; raised bands and gilt titling on spines; all edges gilt; tissue guards on illustrations; brown ribbon markers. Stamp in ink on front endpapers: N. Blackwell. Color is generally superb; varied but mostly marginal light toning and scattered spotting, with most images in pristine condition. A few minor scrapes to covers; bindings tight; endpaper separations at spine, vols. I and III. Excellent condition, overall. $20,000.
The present is an excellent example of the first edition of George Catlin’s classic work to contain the plates printed in color. The coloring is excellent and greatly enhances the striking images. Catlin’s text, first published as Letters and Notes on the Manners, Customs, and Condition of the North American Indians, describes his travels in the West from 1832 to 1839. The artist subsequently spent about fourteen years among the various North American Indian tribes and left the most authentic anthropological record of an already vanishing people. He recorded his observations of ceremonies, dances, hunting methods, forms of warfare, and the ways of daily living among the major tribes of the high plains and the Rocky Mountains. Catlin’s study was and is one of the most widely circulated works on American Indians written in the nineteenth century, and the illustrations remain an extremely important visual document of indigenous Indian life in the American West.
George Catlin (1796-1872). Illustrations of the Manners, Customs, & Condition of the North American Indians. With Letters and Notes . . . (London: Chatto & Windus, 1876). First chromolithographed edition. Two volumes: viii, 264; viii, 266 pp., plus 180 colored plates containing 360 images, and folding map. Tall octavo. Half crimson morocco, gilt tops, spines emblematically tooled with intertwined bow-and-arrow and tomahawk device, red marbled boards and endpapers. Very minor scuffs to spine of Vol. I, otherwise both volumes in very fine condition, internally exceptional and a most attractive custom binding by ‘W. Roach Co. N. Y.’ Bookplates of John Taylor Bottomley (Vol. I & II) and Charles Holman (Vol. I). What appears to be an old auction catalog description of the book is pasted down inside the front cover of Vol. I. Overall a very attractive set. $8,500.
The historic wood engraving offered here showcases an exceptional view of the Santa Fe Plaza District during the late 19th century. Specifically highlighting the U.S. military presence in Northern New Mexico, the illustration depicts the Fort Marcy Military Reservation located within the heart of Santa Fe with a view from the corner of Palace Avenue and Grant Street. What is left of the weathered Fort Marcy can be identified in the distance atop an elevated mound overlooking the town. The famed fort was constructed in 1846 under the command of the Military Governor of New Mexico, Stephen Kearny, as a star shaped adobe garrison to defend the region from Mexican forces. It was named after William L. Marcy who served as the Secretary of War in the Cabinet of President James K. Polk from 1845 until 1849.
“Headquarters Military District of New Mexico, Fort Marcy (Santa Fe),” c.1880. Wood engraving by Mills Engraving Co. Denver, CO. Title and building descriptions printed in bottom margin. Image Size: 4 1/8 x 12″. Sheet Size: 8 1/4 x 14 1/2″. Binding punctures in right margin. Tri-fold sheet as issued. Slight marginal age toning. Strong impression. Good condition. $350.
Peter Moran (1841–1914). “Harvest at San Juan,” 1883. Etching on cream laid India paper. Published in Original Etchings by American Artists (Cassell and Company, 1883), Edition de Luxe, limited to 200. Image: 6 1/8 x 12 1/2″ at plate mark. Sheet with full margins: 13 5/8 x 19 1/8.” Signed in pencil, l.r.: P Moran. Artist’s initials in plate, l.r.: PM. Rare issue on India paper with signature. Superb condition. $5,000.
“The Tewa threshing floors, like those of the New Mexican Spaniards, are circular areas of level ground about 30 feet across, plastered with adobe, situated on the outskirts of the villages, generally on high ground near a steep declivity, where a breeze will assist the work of winnowing. Each ’e^a [threshing floor] may belong to five or six men, relatives or connections by marriage, who have made it by their joint labor. In September the wheat is piled on the ’e^a, a temporary fence of stakes and ropes (formerly of rawhide straps) is set up, and a number of horses are driven round and round in the enclosure until all the grain has been trodden out. Unbroken horses and mares with their foals are driven in from the hills for this work.” — Robbins, Harrington, Freire-Marreco, 1916
This luminous lithograph by the Kansas regionalist painter William R. Dickerson depicts the little church of Nuestra Señora de la Luz in the village of Cañoncito, New Mexico. The adobe church, built in the 1880s, has attracted artists and photographers for decades. With its picturesque location and churchyard cemetery, Nuestra Señora de la Luz has represented for many artists something quintessential about the rural heritage of Northern New Mexico embodied in the simple rustic churches of the Sangre de Cristo Mountains. Dickerson sought to capture the characteristic forms of the New Mexico landscape with “light, shade, shapes, colors and textures that [are the] combined products of man and nature.” The church in profile is nestled against the dark valley of Apache Canyon, its brightly illuminated roof contrasting sharply with a range of richly inked grays and blacks of the surrounding hills.
Gene Kloss (1903–96). “Adobes in The Snow,” 1944. Etching. Image: 7 3/4 x 11 3/8″. Sheet Size: 10 1/2 x 14 7/8″. Artist’s notation in pencil: “II”, in l. l. margin, indicating the print as an Artist’s Proof. Titled in pencil l. l. margin. Signed by the Artista in pencil l. r. Archivally framed. Excellent condition. SOLD.
“Adobes in the Snow” (K.393) encapsulates Gene Kloss’ intimacy with Southwestern subject matter; showing a few, low lying adobe homes blanketed in winter snow. Kloss was a master of design, working primarily from her mental impressions rather than from sketches or photographs. She described what guided her art as follows: “I want the finished print to enable the viewer to see the design, the subject matter from across the room, at arm’s length or under a magnifying glass—also upside-down for satisfactory abstract design.” Kloss’ artworks have been acquired by a number of important collections, including the Carnegie Institute, the Dallas Museum of Art, the Denver Art Museum, the Library of Congress, the Metropolitan Museum, the Museum of New Mexico, the San Diego Museum of Art, the Smithsonian American Art Museum, and the San Francisco Art Museum.
John Taylor Arms is a major figure in the history of twentieth-century printmaking. Trained as an architect, he eventually turned his love of buildings and draughtsmanship to a mastery of the etching medium. Arms’ attention to detail and his genius for capturing the effects of light and shadow first came together in painstaking etchings of the cathedrals of France. “Light and Shade, Taxco” is one of Arms’ most integral and large compositions. A tour-de-force of etching, the print won ten prizes and is listed as one of the artist’s masterplates. The print offered here summarizes Arms’ primary themes—the fugitive play of light and dark, the intricate structure of both sacred and secular architectural space, and the solemn dignity of the creations of man through time. Every architectural detail of Taxco, the important early-twentieth-century Mexican center of modernism, is exquisitely rendered.
John Taylor Arms (1887-1953). “Light and Shade, Taxco”, 1946. Etching. Image size: 10 1/2 x 13 3/4″. Sheet size: 13 1/2 x 17 1/8″. Artist’s notation in pencil: “II,” in l. l. margin, indicating the preferred second state with an edition of 185, printed by the British master printer David Strang. Signed and dated in pencil, l. r.: John Taylor Arms, 1946. Excellent condition. $2,900.
Eduard Veith (1856 – 1925). “Panorama of Vienna,” c. 1875. Lithograph on heavy paper with printed color. Printed by Würbel after G. Veith, by E. Holzel for V. A. Heck in Vienna. Sheet size: 18 3/4 x 29 7/8″. Image size: 18 x 29″. Minor oxidation on verso; a few expert repairs, overall excellent condition. Very rare. $1,800.
Offered here is an all encompassing panoramic view of late 19th century Vienna after the drawing of Eduard Veith. Vienna was one of the largest European cities when this image was created and was simultaneously experiencing a rapid growth in population and an unprecedented flowering of culture within the arts and architecture under the rule of Emperor Franz Joseph I. Illustrated prominently in the foreground of this fantastic view of the city is the renowned Palais Schwarzenberg and the Karlskirche (St. Charles Church). Both structures highlight the exquisite baroque architecture that is seen throughout Vienna that was influenced by France, Germany, and the Habsburg Crownlands in Eastern Europe. The image offered here was created by Eduard Veith who was born in Vienna and who also attended art school there as a pupil of Ferdinand Laufberger. He later continued his art education in Paris. Veith is most famously known for his portraits, frescoes, theatre curtains, and historical paintings.