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 CATESBY, Mark (1683-1749)
The Natural History of Carolina, Florida, and the Bahama Islands, containing the figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants, particularly, those not hitherto described, or incorrectly figured by former Authors, with their Descriptions in English and French. To which is prefixed, A new and Correct Map of the Countries; with Observations on their Natural State, Inhabitants, and Productions. By the late Mark Catesby, F.R.S. Revised by Mr. Edwards... To the whole is now added a Linnaean Index of the Animals and Plants
London: Benjamin White, 1771. 2 volumes, folio (19 5/16 x 14 inches). Titles and text in English and French, 2 dedication leaves. Hand-coloured folding engraved map of Carolina, Florida and the Bahama Islands, 220 fine hand-coloured engraved plates by or after Catesby (plates 61, 80 and 96 in volume II by Georg Dionysius Ehret, plate 90 folding). (Expert small neat repairs to foremargin of folding map and fold of folding plate). Contemporary French red morocco gilt, covers with triple fillet borders with vase and flower corner-pieces, spines in seven compartments with raised bands, lettered in the second and third, the other compartments with elaborate overall repeat pattern composed from various small tools centered around a large flower spray tool, gilt turn-ins, blue endpapers, g.e.
A very fine copy, in an excellent contemporary French red morocco binding, of an early issue of the third edition (printed on laid paper throughout) of the 'most famous colorplate book of American plant and animal life... a fundamental and original work for the study of American species' (Hunt, on the first edition). A lovely and vastly important work by the founder of American ornithology, this book embodies the most impressive record made during the colonial period of the natural history of an American colony. This is undoubtedly the most significant work of American natural history before Audubon's 'Birds of America'.
Catesby writes in the preface of his method of working: 'As I was not bred a Painter, I hope some faults in Perspective, and other niceties, may be more readily excused: for I humbly conceive that Plants, and other Things done in a Flat, if an exact manner, may serve the Purpose of Natural History, better in some Measure, than in a mere bold and Painter-like Way. In designing the Plants, I always did them while fresh and just gathered: and the Animals, particularly the Birds, I painted while alive (except a very few) and gave them their Gestures peculiar to every kind of Birds, and where it could be admitted, I have adapted the Birds to those Plants on which they fed, or have any relation to. Fish, which do not retain their colours when out of their Element, I painted at different times, having a succession of them procured while the former lost their colours... Reptiles will live for many months...so that I had no difficulty in painting them while living.' (Vol.I, p.vi)
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his Natural History; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy. The end result is encyclopaedic: Catesby provides information not only on the botany and ornithology of the area, but also on its history, climate, geology and anthropology.
The consensus amongst the standard reference works is that the two volumes should contain a total of 143 leaves, but these can be bound in a bewildering number of ways. The present copy contains 146 leaves, the 44 page 'Account of Carolina and the Bahama Islands' and the descriptive text normally found in vol.I are here bound in vol.II, whilst the descriptive text for vol.II is in vol.I.
Anker 95; cf. Dunthorne 72; Ellis/Mengel 478; cf. Fine Bird Books (1990) p.86; cf. Great Flower Books (1990) p.85; Jackson Bird Etchings p.76; cf. Nissen BBI 336, IVB 177, ZBI 842; Sabin 11059; cf. Hunt 486 (first edition); Wood p.282
#14185 $450,000.00  
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 CATESBY, Mark (1683-1749)
Mergus [Hooded Merganser] [Pl. 94, Vol. I]
[Pl. 94, Vol. I]. London: (1748-) 1754 [Second edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition apart from a few creases at the edge of the top margin where the page was bound in. Plate mark: 10 3/8 x 13 3/4 inches. Sheet size: 13 15/16 x 19 7/8 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species." (Hunt)
The Hooded Merganser is primarily an inhabitant of wooded lakes, millponds, and rivers. Catesby described this beautiful bird as "somewhat less than a common tame duck; the eyes are yellow, the bill is black and narrow; the upper mandible hooked at the end, and both mandibles serrated...The head is crowned with a very larger circular crest, or tuft of feathers; the middle of which, on each side, is white and bordered round with black, which black extends to and covers the throat and neck. The breast and belly are white. The quill feathers of the wings are brown; just above which are some smaller feathers, whose exterior vanes are edged with white, with a little white intermixed in them, as in some of the other feathers likewise..."
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America (1985), pp. 57-8.
#14541$4,500.00
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 CATESBY, Mark (1683-1749)
Pole Cat (Striped Skunk) with Day Flower [Pl. 62, Vol. II]
[Pl. 62, Vol. II]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition apart from some mild rippling in the bottom margin. Plate mark: 10 3/8 x 13 7/8 inches. Sheet size: 14 1/8 x 20 1/8 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt)
Pictured here with a Virginia dayflower, a native of Florida, the polecat or striped skunk is commonly found throughout the United States and southern Canada. It primarily inhabits woodlands, desert, and grassy plains and subsists on vegetables, insects, and small mammals. Skunks are notorious for the noxious musk they release when threatened and are easily recognizable due to their distinct black fur adorned with white stripes.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#14544$1,750.00
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 CATESBY, Mark (1683-1749)
[The Cat Bird] Muscicapa vertice nigro [Pl. 66, Vol. I]
[Pl. 66, Vol. I]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Plate mark: 14 x 10 inches. Sheet size: 20 1/8 x 13 7/8 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt)
Part of the family of mimic thrushes that includes the brown thrasher and mockingbird, the catbird is commonly found in southern Canada as well as the central, eastern and southern regions of the United States. Catesby observes in his accompanying text that "[t]his bird is not seen on lofty trees; but frequents bushes and thickets; and feeds on insects. It has but one note, which resembles the mewing of a cat; and which has given it its name. It lays a blue egg, and retires from Virginia in winter." (Feduccia, Catesby's Birds of Colonial America (1985), p. 103) In this stunning print, the charming catbird is pictured perched on a thin stem of sweet pepperbush, a shrub that thrives in damp areas.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America, pp. 103-4.
#14545$1,500.00
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 CATESBY, Mark (1683-1749)
American Swallow (Chimney Swift) with Wood Lily [Pl. 8, App.]
[Pl. 8, App]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Plate mark: 10 1/4 x 14 inches. Sheet size: 14 x 20 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).
Commonly found in southern Canada and the United States, the American swallow or common chimney swift belongs to the Apodidae bird family. The species dates back to colonial times, when it was then known as the chimney nester. Insects are its primarily sustenance, and it generally nests in hollow trees or chimneys as depicted in this fine plate. The chimney swift is a migratory bird and during the winter, it travels to South America. In his accompanying text, Catesby comments that the "singularity of this bird is, that the shafts of the tails feathers are very stiff, sharp-pointed and bare of feathers at their ends, which seem designed by nature for the support of their bodies, while they are in an erect posture, building their nests, which they do in chimneys, with little sticks interwoven and cemented together in a kind of glue or gum..." (Feduccia, Catesby's Birds of Colonial America (1985), pp. 77-78) In this stunning print, the American swallow is pictured alongside the wood lily (Lilium philadelphicum), with which it is rarely found in nature.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#14547$1,500.00
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 CATESBY, Mark (1683-1749)
[Pink Flamingo head] Caput Phaenicopteri.The Bill of the Flamingo in Its Full Dimensions [Pl. 74, Vol. I]
[Pl. 74, Vol. I]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Plate mark: 14 1/8 x 10 1/8 inches. Sheet size: 20 x 14 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).
"These birds," Catesby observes, "make their nests on hillocks in shallow water; on which they sit with their legs extended down, like a man sitting on a stool. They breed on the coasts of Cuba and Bahama Islands, and frequent salt water only...This bird resembles the heron in shape, excepting the bill." (Feduccia, Catesby's Birds of Colonial America (1985), p. 48) Catesby executed this particular plate of a flamingo's head set against a piece of gorgonian coral in order to give a detailed, close-up view of the flamingo's unique bill. With its perfectly aligned, downwardly angled upper and lower mandibles, the latter of which is keel-shaped and the former thin and flat, and the tooth like ridges adorning its exterior, the flamingo's singular bill is finely adapted for filter feeding.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#14548$2,200.00
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 CATESBY, Mark (1683-1749)
The Tropick-bird
London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Plate mark: 10 1/4 x 14 inches. Sheet size: 14 x 19 7/8 inches.
A fine image from Catesby's "The Natural History of Carolina, Florida, and the Bahama Islands," "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).
Pictured alongside Wilson's storm-petrel, a small seabird, the red-billed tropicbird is one of three species of tropicbird, and it is commonly found in the Indian and Pacific Oceans. They are large birds that resemble the pelican in their appearance as well as in their method of feeding, diving headfirst into the water to catch aquatic animals such as crustaceans. In his accompanying text, Catesby comments that "[t]hese birds are rarely seen but between the tropics, as the remotest distance from land. Their name seems to imply the limits of their abode; and though they are seldom seen but a few degrees north or south of either tropic, yet one breeding place is almost nine degrees from the northern tropic, viz. at Bermudas...They breed also in great numbers on some little islands at the east end of Puerto Rico." (Feduccia, Catesby's Birds of Colonial America (1985), p. 18)
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his "Natural History"; he travelled extensively in the Carolinas, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself, to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's "The Birds of America".
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood, p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America, pp. 18-19.
#14553$1,750.00
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 CATESBY, Mark (1683-1749)
Prickly Apple and Zebra Swallow-Tail [Pl. 100, Vol. II]
[Pl. 100, Vol. II]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition apart from some very light soiling and mild rippling. Plate mark: 14 x 10 1/4 inches. Sheet size: 20 x 13 3/4 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).
Otherwise known as the lily thorn or thorny Catesbaea, the prickly apple grows in tropical North America and the West Indies. It was discovered by Catesby in the Bahamas, near Nassau. As pictured in this stunning print, this beautiful plant yields fruit and colourful cone-shaped flowers. Flying amidst its branches are two examples of the large North American zebra swallow-tail butterfly, so called because of the distinctive zebra-like markings on its wings. They typically inhabit open fields and woodlands and have conspicuously long graceful tails.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#14558$1,500.00
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 CATESBY, Mark (1683-1749)
Flying Squirrel [Glaucomys volans] [Pl. 77, Vol. II]
[Pl. 77, Vol. II]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Plate mark: 13 3/4 x 10 3/8 inches. Sheet size: 20 1/8 x 14 1/8 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt)
The southern flying squirrel can commonly be found in the deciduous forests of eastern North America and occasionally in Mexico and parts of South America. They are small, agile animals that have a unique patagium or gliding membrane that connects the front and hind legs and enables them to glide long distances. Their large eyes, which are adapted for their nocturnal behavior, also distinguish them from the regular squirrel.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#14561$1,750.00
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 CATESBY, Mark (1683-1749)
The Razor-Billed Blackbird of Jamaica [Pl. 3, App.]
[Pl. 3, App]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition apart from some light soiling and two small bits of adhesive residue at the edge of the top margin. Plate mark: 14 x 10 1/4 inches. Sheet size: 16 1/8 x 12 inches.
A fine image from Catesby's "The Natural History of Carolina, Florida, and the Bahama Islands," "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).
In the text accompanying this illustration, Catesby describes this beautiful bird as being numerous in Jamaica. It feeds on fruit, grain, grasshoppers and beetles and appears mainly in flocks. Of its impressive appearance, he observes that it looks "at a distance all over black, but at a nearer view some of the feathers were blended with shining purple and green. The singular make of the bill resembles that of the Razor-billed Willoughby, the upper mandible being remarkably prominent, rising arch-wise, with an high and very thin edge." The blackbird is pictured here alongside a Lady's-slipper, so called because of its slipper-like shape. A member of the orchid family, this elegant wildflower grows in forested areas and was prized by Native Americans as a decorative hair accessory.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his "Natural History"; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's The Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America, pp. 21-23.
#14566$1,750.00
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 CATESBY, Mark (1683-1749)
Grey Fox Squirrel (Eastern Gray Squirrel) with Bahaman Orchid [Pl. 74, Vol. II]
[Pl. 74, Vol. II]. London: printed for Benjamin White, 1771 [Third edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition apart from some very light soiling and mild rippling in the margins. Bottom of sheet slightly trimmed. Plate mark: approximately 10 x 13 3/4 inches. Sheet size: approximately 13 7/8 x 20 inches.
A fine image from Catesby's "The Natural History of Carolina, Florida, and the Bahama Islands," "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt).
The nut-eating eastern gray squirrel primarily inhabits the hardwood forests of the eastern United States and Canada although it can also be found in Texas, California, and several mid-western states. Its nests are constructed of leaves and are usually built in the hollows and elevated crevices of trees.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his "Natural History"; he travelled extensively in the Carolinas, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself, to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's "The Birds of America".
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood, p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#14569$2,250.00
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 [CATESBY, Mark (1683-1749)] - Johann Michael SELIGMANN (1720-62)
[Southeastern North America] Carolinae Floridae nec non Insularum Bahamensium cum partibus adjacendibus delineato ad exemplar Londinense in lucem edita a..., Seligmann
Nuremberg: Seligmann, 1755. Copper-engraved map, with full original colour, in good condition apart from one large expertly repaired tear and a number of small repaired tears to old folds. Sheet size: 20 1/4 x 27 inches.
A fine copy of the first and only continental edition of one of the finest and most important maps of the region
The English edition of this map (first published in vol.II of Mark Catesby's Natural History of South Carolina, and the Bahama Islands, London, 1743) is now virtually unobtainable. This has greatly increased the desirability of this fine continental version, which is itself quite scarce. Seligmann's Sammlung verschiedener auslaendischer und seltener Vögel was published in 9 parts between 1749 and 1776,and included a German translation of Catesby's work with re-engraved versions of his images, including the present map. Catesby's work was the first natural history of American flora and fauna. The Catesby scholar, G.F. Frick calls this map 'a good representation of the better English ideas about the geography of North America' in the period.
It is not generally recognized that the English version of this map appeared in two states. On the first state of 1743, the territory on both sides of the Mississippi was coloured green, to indicate that the entire region was in the hands of the French. A second state was included in the third edition of the Natural History in 1771, altered to show the political realignment brought about by the Treaty of Paris in 1763. The territory on the east bank of the Mississippi, which had been acquired by Britain, was now coloured green; the territory to the West, which now belonged to Spain, was coloured blue. The present German edition corresponds with the English first state. The map shows the Southeastern United States as far west as the Mississippi River, plus the nearby Caribbean islands of the Bahamas, Cuba, Jamaica, and Hispaniola
Cf. Cumming Southeast (1998 ed.), entries 210 & 292
#16947$14,000.00
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 [CATESBY, Mark (1683-1749)] - Johan Michael SELIGMANN (1720-1762)
[Southeastern North America] Carolinae Floridae nec non Insularum Bahamensium cum partibus adjacendibus delineato ad exemplar Londinense in lucem edita a..., Seligmann
Nuremberg: Seligmann, 1755. Copper-engraved map, with full original colour, in good condition apart from an expertly repaired split to an old fold. Sheet size: 19 1/2 x 25 5/8 inches.
A fine copy of the first and only Continental edition of a 'Map of Carolina, Florida, and the Bahama Islands,' here with particularly fine period hand-colouring.
The English edition of this map (first published in Vol.II of Mark Catesby's Natural History of South Carolina, and the Bahama Islands, London, 1743) is now virtually unobtainable. This has greatly increased the desirability of this fine Continental version, which is itself quite scarce. Seligmann's Sammlung verschiedener auslaendischer und seltener Vögel was published in nine parts between 1749 and 1776, and included a German translation of Catesby's work with re-engraved versions of his images, including the present map. Catesby's work was the first natural history of American flora and fauna. The Catesby scholar, G.F. Frick calls this map 'a good representation of the better English ideas about the geography of North America' in the period.
It is not generally recognized that the English version of this map appeared in two states. On the first state of 1743, the territory on both sides of the Mississippi was coloured green, to indicate that the entire region was in the hands of the French. A second state was included in the third edition of the Natural History in 1771, altered to show the political realignment brought about by the Treaty of Paris in 1763. The territory on the east bank of the Mississippi, which had been acquired by Britain, was now coloured green; the territory to the West, which now belonged to Spain, was coloured blue. The present German edition corresponds with the English first state. The map shows Southeastern North America as far west as the Mississippi River, plus the nearby Caribbean islands of the Bahamas, Cuba, Jamaica, and Hispaniola
Cf. Cumming, The Southeast in Early Maps (1998 ed.), 210 & 292
#18372$15,000.00
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 CATESBY, Mark (1683-1749)
Anas Bahamensis [White-Cheeked Pintail or Baham Pintail] [Pl. 93, vol. 1]
[Pl. 93, vol. 1]. London: (1748-1754) [Second edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Sheet size: 14 1/8" x 20 1/2".
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species." (Hunt)
Catesby's Natural History is a vibrant and original work in which each plate seems to have been created without preconception or habitual form, embodying wit and the love every true naturalist feels for nature's beings. Far from being a mere animal and plant identification book, this is a testament to the glory of nature and life.
The White-cheeked Pintail or Bahama Pintail is the northernmost subspecies of this handsome duck, which is found in Florida as well as the Bahamas, and in Trinidad and Tobago, and parts of South America.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America (1985), pp. 57-8.
#19932$6,500.00
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 CATESBY, Mark (1683-1749)
Anas Minor Purpureo Capite [The Buffel's Head Duck] [Pl. 95, Vol. I]
[Pl. 95, Vol. I]. London: (1748-) 1754 [Second edition]. Hand-coloured copper engraving, on fine laid paper. Very good condition. Sheet size: 14 x 20 1/2".
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species." (Hunt)
Mark Catesby's Natural History is a vibrant and original work in which each plate seems to have been created without preconceptions or habitual form, embodying wit and the love every true naturalist feels for nature's beings. Far from being a mere animal identifcation book, Catesby's work is a testament to the glory of nature and life.
The Bufflehead Duck is a small, beautiful diving duck that Catesby could have seen anywhere on the southern Atlantic coast. The black head as a lovely purplish sheen mentioned in the Latin title. Bufflehead is short for Buffalo Head, in reference to what appears to be his disproportionately large head.
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for a 'Natural History'; he travelled extensively in the Carolinas, Georgia, and the Bahamas, collecting specimens and making drawings from life. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America (1985), pp. 57-8.
#19933$4,000.00
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 CATESBY, Mark (1683-1749)
Querquedula &c [The White Faced Teal, now known as the Blue-winged Teal (Anas discors)]
London: (1748-) 1754 [Second edition]. Hand-coloured copper engraving. Excellent condition. Sheet size: 12 3/4 x 18 inches.
A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt)
Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy. A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.
"The Blue-winged Teal (Anas discors) is a small dabbling duck. The adult male has a greyish blue head with a white facial crescent, a light brown body with a white patch near the rear and a black tail. The adult female is mottled brown. Both sexes have a blue wing patch. In flight, they flap their wings especially rapidly.
Their breeding habitat is marshes and ponds throughout north and central North America. The nest is a shallow depression on the ground lined with grass and down, usually surrounded by vegetation. They migrate in flocks to Central and South America. During migration, some birds may fly long distances over open ocean. They are occasional vagrants to Europe, where their yellow legs are a distinction from other small ducks like Common Teal and Garganey. DNA analysis of this species has revealed its genetic make up to be almost identical to that of the Cinnamon teal. These birds feed by dabbling in shallow water. They mainly eat plants; their diet may include molluscs and aquatic insects. The call of the male is a short whistle; the female's call is a soft quack." (Wikipedia)
Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998.
#20205$4,520.00
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 CATHERWOOD, Frederick (1799-1854)
Views of Ancient Monuments in Central America, Chiapas and Yucatan
London: F. Catherwood, 1844. Folio (21 1/4 x 14 1/8 inches). Chromolithographic title by Owen Jones printed in red, blue and gold, lithographic map printed in red and black, 25 tinted lithographic plates after Catherwood. Contemporary green morocco-backed moiré cloth-covered boards, titled in gilt 'Catherwood's Views / in Central America / Chiapas and Yucatan' at centre of upper cover, titled in gilt on spine, small expert repairs to outer corners, modern green morocco-backed cloth box.
"In the whole range of literature on the Maya there has never appeared a more magnificent work" (Von Hagen)
This beautiful and rare plate book was printed in an edition of 300 copies. It is seldom found in presentable condition, and is one of the first and primary visual records of the rediscovery of Mayan civilization. Until the publication of the work of Alfred Maudslay at the turn of the century, this was the greatest record of Mayan iconography.
Frederick Catherwood was a British architect and artist with a strong interest in archaeology. These combined talents led him to accompany the American traveller and explorer, John Lloyd Stephens, on two trips to the Mayan region of southern Mexico in 1839 and 1841. These explorations resulted in Stephens' two famous works, Incidents of Travel in Central America, Chiapas, and Yucatan and Incidents of Travel in Yucatan. These immensely popular works, foundation stones in Mayan studies, were both illustrated by Catherwood and inspired him to undertake the larger portfolio.
The Views.. was produced in London, although issued with both London and New York titlepages. Catherwood recruited some of the most distinguished lithographers in London to translate his originals onto stone: Andrew Picken, Henry Warren, William Parrott, John C. Bourne, Thomas Shotter Boys, and George Belton Moore. The beautiful titlepage was executed by Owen Jones. Three hundred sets were produced, most of them tinted, as in the present copy (there is a colored issue on card stock, which is exceedingly rare). The views depict monuments and buildings at Copan, Palenque, Uxmal, Las Monjas, Chichen Itza, Tulum, and several scattered sights.
The work of Stephens and Catherwood received great praise, but neither lived to enjoy it long. Stephens died in 1852, and Catherwood 1854.
"Catherwood belongs to a species, the artist-archaeologist, which is all but extinct. Piranesi was the most celebrated specimen and Catherwood his not unworthy successor" (Aldous Huxley).
Sabin 11520; Tooley (1954) 133 (gives a list of the plates); Von Hagen, Search for the Maya, pp. 320-24; Palau 50290; Groce & Wallace, p.115; cf. Hill [2004], 263. Not in Abbey
#16952$75,000.00
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 CATLIN, George (1796-1872)
Catlin's North American Indian Portfolio. Introduction by Harold McCracken
Chicago: Swallow Press Inc, 1970. Large folio (22 3/8 x 17 inches). 25 tinted lithographic plates, coloured by hand and heightened with gum arabic, all after Catlin.Text stapled, plates unbound as issued, all within original black cloth portfolio, titled in gilt on upper cover.
Limited edition facsimile of Catlin's famous work
Edition limited to 1000 copies, this number 823. Based on Catlin's work of 1844, the present edition includes a facsimile of the original title page, together with Catlin's preface to the reader and the descriptive text to accompany the plates.
An excellent facsimile of this invaluable pictorial record of a "truly lofty and noble race...A numerous nation of human beings...three-fourths of whose country has fallen into the possession of civilized man....twelve million of whose bodies have fattened the soil in the mean time; who have fallen victims to whiskey, the small-pox, and the bayonet" (Catlin Illustrations of the Manners, Customs, and Condition of the North American Indians pp.3-4). Catlin went on to summarize the native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, and set himself a truly punishing schedule, to record what he saw. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate
#2522$12,000.00
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 CATLIN, George (1796-1872)
Catching the Wild Horse [Pl. 4]
[Pl. 4]. London: Printed by Day & Haghe., 1844. Tinted lithograph. Printed on fine wove paper. In execellent condition with the exception of a skillfully mended tear along the bottom margin. . Image size (including text): 12 7/8 x 8 1/4 inches. Sheet size: 16 3/4 x 23 1/4 inches.
A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of Native American life.
"In this struggle, which... generally lasts about half an hour, there is a desperate contention for the mastery, which is easily seen to be decided by reason and invention, rather than by superiority in brute force. The Indian leans back upon his halter, which is firmly held in both hands, and as his horse is getting breath and strength to rise, repeatedly checks it, preventing it from gaining any advantage; and gradually advances, hand over hand upon the tightened halter, towards the horse's head, until [it]... allows the caressing hand of its new master to pat it on the nose, and in a few minutes to cover its eyes, when the exchange of a few deep-drawn breaths from their meeting nostrils seems to compromise the struggle; the animal discovering in its conqueror, instead of an enemy, a friend... for the rest of its life."
Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life.
Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.
#5049$5,500.00
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 CATLIN, George (1796-1872)
The Snow-Shoe Dance [Pl. 14]
[Pl. 14]. New York: James Ackerman, 1845. Lithograph, coloured by hand, by James Ackerman. Image size (including text): 11 7/8 x 17 3/4 inches. Sheet size: 16 1/8 x 22 1/2 inches.
A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of native-American life.
"This picturesque scene is called by... [the Indians] the 'Snow-Shoe Dance' as it is danced with the snow-shoes on their feet, around an ornamented pair of the same, which are elevated, with the appropriate flags and spears of the band."
Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life.
Bennett 22; McCracken 10A; Reese American Color Plate Books 25; Sabin 11532 note; Wagner-Camp 105a: 3
#5059$11,500.00
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 CATLIN, George (1796-1872)
[Wounded Buffalo Bull [Pl. 16]
[Pl. 16]. London: Henry Bohn, 1845]. Lithograph, coloured by hand, printed by Day & Haghe, on original card mount within ink-ruled frame (mount spotted). Image size (including text): 12 x 17 5/8 inches. Sheet size: 15 7/8 x 21 inches (mount size).
A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of native-American life.
"The reader has here, a striking illustration of the... effects of the Indian's arrow, and also an emphatic representation of one of the largest specimens of the buffalo bull... at his last halt..."
Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life.
Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1
#5061$1,500.00
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 [CATLIN, George (1796-1872)]
[Two original watercolor drawings, on two pages of an amicorum book (or friendship album) belonging to Miss Anicartha Miller of New York]
[New York: circa 1827]. Octavo (7 x 8 inches). 130pp. of manuscript entries in various hands, including the Catlin watercolors (of Niagara Falls, 5¾ x 5¼ inches & a fall landscape, 5½ x 4½ inches, both signed) and other illustrations. Contemporary mottled calf, covers gilt with decorative border, the upper with 'Anicartha Miller 1825' stamped in gilt, ornate gilt spine, gilt turn-ins (some scuffing), modern cloth box. Provenance: Miss Anicartha Miller (binding).
An attractive "Amicorum book" or "friendship album" compiled by Miss Anicartha Miller of New York, featuring verse and original artwork by amateurs of her circle, the most important of which are two original early George Catlin watercolours.
The first watercolour offers a wide view of Niagara Falls from the American side, complete with mist billowing into the air intersected by two faint rainbows arching into the gorge. It is accompanied by a lengthy untitled poem in an unidentified hand. The second illustration shows a gathering of evergreens surrounding a deciduous tree in full Autumn colour, all nestled against a shore with a ship tacking hard in the background. Both are signed with a brush 'Geo. Catlin' in pale pink in the lower central and lower right portions respectively. Also included in the present album are a brief poem and amateur watercolour by Julius Catlin, George's younger brother and aspiring artist; a poem by Theodore Sedgewick Fay in his hand titled "Lines Written on Reaching New York City...," dated August 28, 1833; and an additional untitled (and presumably unpublished) poem by Margaret Miller Davidson.
Catlin's career as an artist was gaining significant momentum at the time he executed these watercolours. After abandoning a career in law, Catlin moved to Philadelphia in 1821 to attempt to make his way as an artist. He exhibited frequently, and, in 1824, became a member of the Pennsylvania Academy of Fine Arts. He earned the bulk of his income doing society portraits and miniatures, though he tired quickly of both. In 1826, he travelled to Buffalo where he painted a well-received portrait of the Seneca chief Red Jacket. During this period he produced original artwork on the Erie Canal and the falls at Niagara, the latter a theme he takes up here (his first collection of prints, Views of Niagara, was published in 1831). The next year he moved to New York, shortly after which he made these contributions in Miss Miller's album. Contemporaneous with these sketches, he received his most important commission to date, a full-length portrait of Gov. DeWitt Clinton. Meanwhile, Catlin and his younger brother Julius were formulating a plan for a joint venture into Indian territory. George was to paint the Indians, while Julius would gather archaeological specimens. In a tragic turn of events, of the sort that plagued Catlin's life, Julius drowned while swimming the Genesee River in September of 1828, an event the art historian Brian W. Dippie says contributed mightily to Catlin's eagerness to escape west. Four years later he embarked on his celebrated western tour.
Amicorum books, also known as "friendship albums" were kept frequently by the romantic youth of the early and mid-19th century. Their owners would ask friends and suitors to contribute sentiments, poesy, or vignettes, effecting a sort of commonplace book of the heart. Anicartha Miller was the daughter of Sylvanus Miller, a noted New York City probate judge, and was born in about 1810. 'In 1837, when she was about 27, she bacame a "manager" of the Association for the Benefit of Colored Orphans, a voluntary association of white protestant women, about two-thirds of whom were Quakers... In April, 1840, Anicartha Miller became the first "First directress" or President of the Board of Managers of the Association for the Benefit of Colored Orphans' (information provided by Anne M. Boylan). It is possible Catlin met Anicartha Miller through his friendship with Gov. Clinton, whose many parties Catlin attended, along with the cream of New York society. Entries in Anicartha's album date from 1826 to 1833.
The year between Catlin's move to New York and his marriage to Clara Gregory in 1828 is among the least well-known of Catlin's adventurous life. His exact relationship to Anicartha is unknown; there is no correspondence between Anicartha and Catlin recorded in Marjorie Catlin Roehm's The Letters of George Catlin. Regardless, these watercolors set Catlin in an elite social circle and pair his sensitivities with that of his brother, whom many have credited with installing in Catlin the idea of an Indian gallery. In all, two accomplished Catlin watercolours, indicative of the artist's burgeoning talent and affection for the American wilderness.
ANB 4, pp.578-79. Brian W. Dippie, Catlin and his contemporaries. (Lincoln: University of Nebraska Press, 1990). Marjorie Catlin Roehm, The letters of George Catlin and his family. (Berkeley: University of California Press, 1966), p.35.
We would like to thank Anne M. Boylan, Department of History, University of Delaware, for her invaluable help in cataloguing this album
#5654$17,500.00
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 CATLIN, George (1796-1872)
[Dying Buffalo Bull in a Snow Drift [Pl. 17]
[Pl. 17]. London: Henry Bohn, 1844 or 1845]. Lithograph, coloured by hand, printed by Day & Haghe, on original card mount within ink-ruled frame. Good condition with the exception of some light overall foxing. Image size (including text): 12 x 17 1/2 inches. Sheet size: 15 7/8 x 21 1/4 inches (mount).
From Catlin's 'North American Indian Portfolio', one of the most important accounts of native-American life.
"In this view the reader is introduced to the optimum of... severity which the hunters of the northern prairies have to contend with in the depths of winter. An intensely cold day, with dry and sand-like snow three or four feet in depth, drifting before the wind, and a herd of buffaloes labouring to plough their way through it, whilst they are urged on by a party of Indians on snow-shoes, deeply clad in furs... The... bull in the foreground of this picture... [was] carefully sketched by my own hand... and I therefore confidently offer them as faithful delineations of their forms and looks, as well as fit and impressive subjects for contemplation for those who may ever have the time, and feel disposed to sympathize with... this useful and noble animal."
Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life.
Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.
#8419$1,600.00
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 CATLIN, George (1796-1872)
Catlin's North American Indian Portfolio. Hunting scenes and amusements of the Rocky Mountains and prairies of America. From drawings and notes of the author, made during eight years' travel amongst forty-eight of the wildest and most remote tribes of savages in North America
London: C. & J. Adlard for George Catlin, Egyptian Hall, 1844. F | | | |
