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browsing 4487 items
displaying items 2701 to 2800
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 LEAR, Edward (1812-1888)
Capercailzie or Cock of the Wood. Tetrao Urogallus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some overall light soiling. Sheet size: 14 1/4 x 21 1/8 inches.
A beautiful image from John Gould's 'The Birds of Europe': a work which, according to Hyman, 'included some of the most remarkable bird drawings ever made'.
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, whilst the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.'
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: 'They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm'. (Hyman)
Cf. Anker 169; cf.Balis 101; cf.Fine Bird Books (1990), p. 102; cf.Nissen IVB 371; cf.Sauer 2; cf.Zimmer p. 251.
#9287 $2,250.00  
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 LEAR, Edward (1812-1888)
Kite. Milvus vulagaris
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some very minor foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13557$2,950.00
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 LEAR, Edward (1812-1888)
Black Kite. Milvus ater
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some minor foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, The Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf.Balis, 101; cf.Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13558$2,950.00
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 LEAR, Edward (1812-1888)
Honey Buzzard. Pernis apivorus
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some light foxing. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13559$1,650.00
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 LEAR, Edward (1812-1888)
Booted Eagle. Aquila pennata
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13560$1,950.00
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 LEAR, Edward (1812-1888)
Imperial Eagle. Aquila Imperialis
London: [by the Author, 1832-1837]. Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition. Sheet size: 21 5/8 x 14 3/8 inches. 1 7/8" Curly Maple frame, with dark amber finish. Frame size: 30 1/8 x 22 3/4 inches.
A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made."
This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency."
The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman)
Cf. Anker, 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.
#13563$1,950.00
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 LEDOULX, Pierre- François (1730-1807)
Xeranthemum annuum; Amaranthus cruentus and Tragopogon porrifolius signed (lower right) and inscribed in brown ink (lower margin) '1. Amaranthoides. 2. Xeranthemum annuum élernuelles (sic.), ou perpétuelles annùelles. dites immortelles raisonnées. 3 Amaranthoides indica 4 autre espèce de perpetuelle 5 amaranthoides de diverses Couleur 6 elernuelles [sic.], dites Strooblommen.', numbered '1'-'6' beside each image.
Water-colour and gouache. Sheet size: 23½ x 18½ inches. Framed and glazed. Provenance: Baron Joseph van Huerne (gift to his grandson) - Joseph de Pelichy - Eyre & Hobhouse (exhibition: The Discovery of Nature, London 1983, item 59).
A finely balanced and very accomplished work, the work of the Flemish botanical artist Ledoulx and taken from a compilation of drawings made by Baron Joseph van Huerne in Belgium between about 1790 and 1820. This compilation certainly included 135 (and probably about 170) original watercolour and gouache drawings bound in four albums, each with a manuscript title page 'Collection du Regne Vegetal, Arbres Forestiers et Fruitiers, leurs Fruits. &c' He employed the talents of at least five different artists. A secondary inscription notes the presentation of the albums 'Donné par son grand-Père mons. J. van Huerne à Joseph de Pelichy le 9 Avril 1831'. The albums subsequent history is unclear, but currently Mrs Paul Mellon's Oak Spring Garden Library has one volume [Oak Spring Sylva 4] and the Royal Horticultural Society in London have two volumes. The fourth volume, from which the present drawing comes, was broken up and dispersed some time before 1983, and the current locations of the other individual drawings are not known, but a selection were exhibited by Eyre & Hobhouse in London in 1983.
#4680$2,750.00
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 LEECH, After John (1817-1864)
'The Mermaid's Hunt' [from the artist's 'Sketches in Oil' series]
London: Thos. Agnew & Sons, 2 January 1865. Chromolithograph, on original mount bearing lithographed facsimile manuscript signature and title. Sheet size: 15 5/8 x 23 5/8 inches.
A delightful image of fashionable young ladies sketching, fossil hunting, riding and examining rock pools on the beach.
An unusually large scale work from the famous illustrator of Dickens, Surtees, Thackeray and others. In 1862 John Leech 'essayed a series of so-called "sketches in oil," which were exhibited at the Egyptian Hall, Piccadilly, in June and the following months. These consisted of copies of a selection of his Punch drawings, which had been ingeniously enlarged, transferred to canvas, and coloured lightly in oils. As the artist advanced with this process he considerably improved it in detail, and his exhibition was a great success (it brought him nearly 5,000 pounds), to which a friendly notice by Thackeray (Times, 21 June) not a little contributed.... His gift for seizing fugitive expression and for mentally registering transitory situation was extraordinary. Long practice had made it unerring in its way, and Leech perhaps wisely concentrated his attention upon these points. Yet he possessed, like Keene, a marvellous faculty for landscape, and in many cases the backgrounds to his sketches are in themselves of striking beauty. No words define his general position in art better than Mr. Ruskin's: His work contains the finest definition and natural history of the classes of our society; the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways, with which the modesty of subservient genius ever immortalised or amused careless masters. (DNB).
#6277$650.00
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 LEECH, After John (1817-1864)
The female blondin outdone! Grand morning performance on the narrow plank by the darling xxxx
London: Thos. Agnew & Sons, no date but 1865-1866]. Chromolithograph, on original mount. Sheet size: 16 7/8 x 24 3/4 inches.
A delightful image of three fashionable young ladies and their younger siblings, all enjoying the benefits of a day beside the sea.
An unusually large scale work from the famous illustrator of Dickens, Surtees, Thackeray and others. In 1862 John Leech 'essayed a series of so-called "sketches in oil," which were exhibited at the Egyptian Hall, Piccadilly, in June and the following months. These consisted of copies of a selection of his Punch drawings, which had been ingeniously enlarged, transferred to canvas, and coloured lightly in oils. As the artist advanced with this process he considerably improved it in detail, and his exhibition was a great success (it brought him nearly 5,000 pounds), to which a friendly notice by Thackeray (Times, 21 June) not a little contributed.... His gift for seizing fugitive expression and for mentally registering transitory situation was extraordinary. Long practice had made it unerring in its way, and Leech perhaps wisely concentrated his attention upon these points. Yet he possessed, like Keene, a marvellous faculty for landscape, and in many cases the backgrounds to his sketches are in themselves of striking beauty. No words define his general position in art better than Mr. Ruskin's: His work contains the finest definition and natural history of the classes of our society; the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways, with which the modesty of subservient genius ever immortalised or amused careless masters. (DNB).
#6278$650.00
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 LEEDS, Lewis W.
A Treatise on Ventilation: Comprising Seven Lectures Delivered before the Franklin Institute, Philadelphia, 1866-68. Showing the Great Want of Improved Methods of Ventilation in our Buildings; Giving the Chemical and Physiological process of Respiration; Comparing the Effects of the Various Methods of Heating and Lighting upon the Ventilation
New York: John Wiley & Son Publishers, 1871. 8vo (9 x 5 3/4 inches). 12 lithographic plates, printed in four colours, 41 text illustrations. Original green grained cloth, covers with blocked border in blind, lettered in gilt at center of upper cover, spine lettered in gilt.
Second expanded edition: an attractive copy of this important work which received professional praise at the time of publication for its emphasis on the importance of ventilation and fresh air
An important work, written by a man on a mission, illustrated with a charming group of 12 lithographic plates printed in four colours and demonstrating the benefits of proper ventilation, as against the evils of poor air circulation. The first edition was published in New York in 1869 under the title Lectures on Ventilation. It was a much slighter work, containing just 60 pages and only 2 plates. The present second edition with 226 pages and 12 plates is almost a separate work. "So great has been the change, that, in revising these Lectures [that were included in the first edition] and adding the Second Course for publication, it seems scarcely possible that two or three short years only could have passed since the general indifference and apathy, as therein expressed, should have existed. But I remember well it seemed like a pall, a dead weight upon me, that I could not arouse or shake off. To be sure, that was in Philadelphia, the slowest place for adopting ideas in the country" (preface to the second edition).
"Lewis Leeds, active in New York and Philadelphia, designed steam-heating apparatus, working with Calvert Vaux from 1861-64. During the Civil War, Leeds served as health inspector of the Union field hospitals, and after was hired to design mechanical heating and ventilation systems for several government buildings, including the House of Representatives, the Treasury Building, and military hospitals" (Townsend).
Gavin Townsend, Airborne Toxins and the American House, 1865-1895
#20232$500.00
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 LEHMAN, Geo.
[Philadelphia] The Great Elm Tree of Shackamaxon (now Kensington) Under which William Penn concluded his Treaty - with the Indians in 1682 it fell during a storm in 1810, This block of marble was placed by the Penn Society AD 1827 to mark the scite [sic] of the Elm Tree and Treaty Ground of William Penn & the Indian Natives - in 1682 & bears the inscriptions. "Unbroken Faith." "By Deeds of Peace"
circa 1829]. Hand-coloured aquatint, painted and engraved by Lehman. Very good condition with the exception of some minor soiling in the margins, a very slight loss at the upper left corner. Image size (including text): 14 1/8 x 18 1/4 inches. Sheet size: 16 1/8 x 21 inches.
The "Treaty Elm," where Native Americans met with William Penn is one of the quintessential American images of Colonial origins, a relic of the birth of the Commonwealth.
The date of this aquatint is uncertain, possibly as early as 1829. It presents a familiar view of the city from under the legendary tree where Penn is thought to have met with members of various Indian tribes in 1682 (as sketched by Benjamin West sketched prior to his departure for Italy in 1760). A monument in Penns Treaty Park in Philadelphia marks the spot where the great tree stood until it was toppled by a storm in 1810.
George Lehman, born in Lancaster, Pennsylvania was an accomplished landscape artist, aquatint engraver and lithographer. His lithographic firm of Lehman and Duval produced numerous remarkable works, including a fine set of views of Philadelphia. After the partnership was dissolved in 1837, Lehman continued to work as a designer for other engravers, and produced aquatint engravings on his own. (Fowble)
Fowble, Two Centuries of Prints in America, 1680-1880, 258
#15049$3,850.00
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 LEIGHTON, After Nicholas Winfield Scott (1849-1898)
Captain Lewis
Published by E. F. Dunbar, 1882. Colour-printed lithograph. Very good condition apart from a few mild surface abrasions, a small loss and mild crease at the top of the image. Sheet size: 10 5/8 x 14 3/4 inches.
A pupil of Harrison Bird Brown, the American artist Nicholas Winfield Scott Leighton was initially trained as a landscape painter but is primarily known for his images of animals, particularly thoroughbred racing horses. He funded his artistic education in Portland, Maine by rearing and trading horses, a job which gave him an intimate knowledge of equine anatomy that later manifested itself in his paintings. Leighton eventually settled in Boston, where he established a studio and continued to execute equestrian paintings, many of which were published as prints by Currier & Ives. During the 1880s, he exhibited his work at the prestigious National Academy of Design.
#14101$600.00
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 LEOPOLD, Joseph Friederich (1668-1726)
Christina Ewartina, Polonorum Regina, Saxon : Duc : et Elect: &c. [Christina Ewartina, Queen of Poland, Duchess and Elector of Saxony]
Augsburg: Published by Martin Engelbrecht, circa 1726, issued c. 1745. Engraving with thick early colour with gold highlights. Printed on laid paper. In excellent condition with the exception of some minor foxing in the margins. Image size: 10 1/8 x 7 1/8 inches. Sheet size: 14 1/8 x 8 3/4 inches.
A lovely portrait, with stunning early colour, of the Queen of Poland, Christina Ewartina, by the celebrated Augsburg engraver Martin Engelbrecht.
Christiane Eberhardine, called here Queen of Poland, was the wife of Frederick Augustus of Saxony, who became King of Poland in 1697 as Augustus II. The law of Poland required that its King be Roman Catholic, and Augustus promptly converted, Christiane however was an ardent Lutheran and refused. She left her extremely promiscuous husband (who sired hundreds of illegitimate children) and lived at a pleasant castle raising her son until she died in 1727. Upon her death, Bach composed a funeral cantata.
Joseph Friedrich Leopold was an Augsburg engraver, who made this print of the popular Queen of Saxony while she was still alive (as he pre-deceased her). The hadsome Queen sits before an open view of snowcapped mountains. On a table beside her is, perhaps, the crown of Poland she put aside in favor of her faith.
#15089$750.00
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 LESCARBOT, Marc (1570-1642)
Nova Francia: or the description of that part of New France, which is one continent with Virginia. Described in the three late voyages and plantation made by Monsieur de Monts, Monsieur du Pont-Grané, and Monsieur de Poutrincourt, into the countries called by the French men La Cadie, lying to the Southwest of Cape Breton. Together with an excellent severall treatie of all the commodities of the said countries, and manners of the natural inhabitants of the same. Translated out of French into English by P[ierre] E[rondelle].
London: [Eliot's Court Press for] George Bishop, 1609. Small quarto (7 x 5 1/8 inches). 1 folding engraved map. (First leaf [blank save for a single fleuron] in fascimile, a few small expert repairs to the title and first two preliminary leaves, affecting a few letters, repaired small tear across lower blank border of map). Modern dark green morocco gilt by Sangorski & Sutcliffe, covers and spine gilt, gilt turn-ins, gilt edges (upper outer joint slightly tender). Provenance: Boise Penrose (two bookplates).
The Boise Penrose copy of the rare first English edition of this highly important source for the history of Canada, published the same year as the French first edition, complete with the first and most accurate contemporary map of Canada.
The rare first English edition of this premier source for the history of Canada, published the same year as the French first edition, complete with the first contemporary and detailed map of Canada. Lescarbot was a French writer and lawyer who spent the winter of 1606-7 at Port Royal, Acadia. He gives accounts of early French voyages and discoveries in America such as those of Villegagnon to Brazil, Verrazzano, Ribaut and Laudonnière to Florida, Champlain, sieurs de Poutrincourt and de Monts, Cartier, and Roberval. Also included is much information concerning the Indian tribes, especially those of northeastern Canada, to whom the second book in this English edition is devoted. Much of the material Lescarbot collected himself, interviewing members of the early expeditions and recording his own observations and experiences. Field, in describing the first French edition, states: "His descriptions of Indian Life and peculiarities are very interesting, an account both of their fidelity, and from being among the first authentic relations, we have of them after Cartier."
As with so many important works on American published in English in this era, the author, translator, and scholar Richard Hakluyt played a role in the publication of the English edition of Lescarbot. The translator Pierre Erondelle states in the introduction that Hakluyt had asked him to translate the work both to describe Canada and also "for the particular use of this nation, to the end that comparing the goodness of lands of the northern parts herein mentioned with that of Virginia, which...must be far better by reason it stands more southerly nearer to the sun; greater encouragement may be given to prosecute that generous and goodly action." Thus accounts of Canada, in Hakluyt's reckoning, would enhance the promotional materials of the Virginia Company, then being published in London.
The large map, "Figure de la Terre Neuue, Grand Riviere de Canada, et Côtes de l'Ocean en la Novvelle France," was also issued with the first French edition, and is considered the most accurate cartographic representation of the area at the time. "The map extends up the St. Lawrence River as far as the Indian village Hochelaga, or Montreal as we know it. The first trading post in Canada, founded in 1600 at Tadousac, is shown at the mouth of the R. de Saguenay and just next to that is the River Lesquemin mistakenly named in reverse. Kebec is shown here for the first time on a printed map in its Micmac form, meaning the narrows of the river" (Burden)
European Americana 609/68; Sabin 40175; Church 341; VAIL 16; Harrisse Nouvelle France 19; Borba de Moraes 406-7; Field 916; STC 15491; Schwartz & Ehrenberg, pp.88-90; cf. Burden 157 (map); cf. McCorkle, New England in Early Printed Maps 609.1 (map).
#19435$285,000.00
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 LESLIE, Eliza
Seventy-Five Receipts for Pastry, Cakes, and Sweetmeats. By Miss Leslie, of Philadelphia. Fourth edition
Boston: Munroe & Francis, and C.S.Francis of New York, 1832. 12mo (6 7/8 x 4 1/4 inches). Original blue-green cloth, paper label to spine, light scuffing to extremities, splits to joints. Provenance: W. Robert Penman & Dorothy I. Lansing (inscription date '2.19.66', and bookplate).
A fine untouched copy of the fourth edtion of this home grown classic: a work containing recipes that "are, in every sense of the word, American " (Preface).
A best-selling American cook book which was first published in 1828. The author notes in the preface that "The following Receipts for Pastry, Cakes, and Sweetmeats, are original, and have been used by the author and many of her friends with uniform success. They are drawn up in a style so plain and minute, as to be perfectly intelligible to servants, and persons of the most moderate capacity. All the ingredients, with their proper quantities, are enumerated in a list at the head of each receipt, a plan which will greatly facilitate the business of procuring and preparing the requisite articles.
There is frequently much difficulty in following directions in English and French Cookery Books, not only from their want of explicitness, but from the difference in the fuel, fire-places, and cooking utensils generally used in Europe and America; and many of the European receipts are so complicated and laborious, that our female cooks are afraid to undertake the arduous task of making any thing from them.
The receipts in this little book are, in every sense of the word, American; ...the writer flatters herself that (if exactly followed) the articles produced from them will not be found inferior to any of a similar description made in the European manner." (Preface).
The popularity of this work can be judged from the fact that, as Cagle and Stafford note, the work "went through at least ten separate editions, each completely reset, published by Munroe and Francis between 1828 and 1846." Divided into three parts, each devoted to a different type of dessert, the offerings include numerous pies, puddings, custards, ice cream, cakes, biscuits, jellies, and other preserves.
Cf. Bitting pp.284/5; cf. Cagle & Stafford 437;cf. American Imprints 13381;cf. Lowenstein 165; cf. The Larder Invaded p.67.
#20913$500.00
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 LEVACHEZ, Charles Francois Gabriel after Louis Joseph LEFEVRE
[Napoleon]
Colour printed aquatint. Registration marks on top and bottom margins. Printed on wove paper. In excellent condition. Image size: 21 15/16 x 21 1/2 inches. Plate mark: 25 1/8 x 17 3/8 inches. Sheet size: 25 3/4 x 18 1/2 inches.
A stunning colour printed aquatint of Napoleon at the height of his power.
Napoléon Bonaparte famously crowned himself Emperor Napoléon I in Notre Dame on 2 December 1804. This monumental event spurred a visual campaign, which sought to establish an Imperial image of the Emperor as the ordained leader of France. Paintings and prints depicting the Emperor in his coronation robes appeared all over Paris and throughout the provinces. This resolute campaign, to disseminate the Imperial image, continued throughout Napoleon's reign depicting his conquests and solidifying him as a visual icon. This stunningly printed aquatint by Levachez is a lucid example of this visual tradition. In this simple image Napoleon is depicted as both powerful and resolute the quintessential politician and the gifted soldier.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs
#12816$1,750.00
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 LEWIS, After James Otto (1799-1858)
The Little Crow / A Celebrated Sioux Chief/ Painted by J.O. Lewis at the Treaty of Prairie du Chien 1825
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, after Lewis, printed by Lehman & Duval of Philadelphia. Wove paper. Sheet size: 17 3/4 x 11 5/8 inches.
An insightful portrait, from Lewis' "Aboriginal Portfolio", of Little Crow, a hereditary chief of the Saposia band of the Sioux people.
LITTLE CROW, 'or Chetan wakan mani (The Sacred Pigeon-hawk Which Comes Walking), was one of a dynasty among Sioux nations. His grandson was the celebrated Little Crow who would lead the Native people during the Minnesota breakout of 1862. Little Crow's village of Kaposia was on the east bank of the Mississippi below the mouth of the Minnesota River, where St. Paul now stands. Henry Schoolcraft, explorer and ethnologist, and Michigan Governor Lewis Cass, who visited it in 1820, described the village as consisting of twelve large lodges, housing about two hundred families. James Dory, Cass's secretary, recalled Little Crow as a man "with a great deal of fire in his eyes, which are black and piercing. His nose is prominent and has an aquiiline curve, his forehead falling a little from the facial angle...his whole countenance animated and expressive of a shrewd mind..." Schoolcraft thought him magnanimous. In his memoirs the ethnologist tells the story of how the Sioux chief had discovered a Chippewa robbing his traps. In the deep woods the penalty for this crime was death, but Little Crow handed the thief his traps and rifle. "I come to present you the trap, of which I see you stand in need," he said. "Take my gun also...and return to the land of your countrymen...linger not here, lest some of my young men should discover your footsteps." Little Crow came to Washington in 1824 as head of the Sioux delegation.' (J. D. Horan The McKenney -Hall Portrait Gallery of American Indians New York, 1972, p. 148). Little Crow was painted by Charles Bird King in 1824. Lewis made the painting from which this print was made the following year at the signing of the Prairie de Chien Treaty. Little Crow was the second Indian signer.
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney & Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued. James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of Lewis's portraits derive from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#8673$2,750.00
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 LEWIS, After James Otto (1799-1858)
A Winnebago Squaw / Wife of O'-Check-Ka or Four Legs / Painted at the Treaty of Green Bay 1827. by J. O. Lewis
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, by J. Barincou after Lewis, printed by Lehman & Duval of Philadelphia. Wove paper. Sheet size: 18 7/8 x 12 inches.
A striking image, from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of Lewis's portraits derive from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#13229$750.00
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 LEWIS, After James Otto (1799-1858)
Na-Mas / or the / Littel Sturgeon / A Chippeway Chief / Painted at the Treaty of Green Bay 1827. by J. O. Lewis
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, by J. Barincou after Lewis, printed by Lehman & Duval of Philadelphia. Wove paper. Sheet size: 19 x 11 3/4 inches.
A striking image, from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all Lewis's portraits derive from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
The occasion for this portrait was probably Butte des Morts, rather than Green Bay as Lewis states, though the treaty dealt extensively with Green Bay.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#13230$750.00
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 LEWIS, After James Otto (1799-1858)
Shounk-Chunk the Black Wolf A Winnebago Chief. Taken at the treaty of Green Bay 1827 by J.O. Lewis
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 18 x 11 1/4 inches.
A striking image from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each.Virtually all of Lewis's portraits were done at these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
The treaty Lewis refers to as the Treaty of Green Bay was the Treaty of Butte des Morts, 1827. On this treaty is the mark of "Shoank-tshunksiap" Black Wolf, a Menominie, presumably the man here portrayed as a Winnebago.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17730$750.00
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 LEWIS, After James Otto (1799-1858)
Billy Shane. A Shawnee Chief. Who fought for the Americans and was wounded at the Battle of the Thames in Upper Canada. Painted by J.O. Lewis at the Treaty of Massinnewa Indiana 1827.
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. . Sheet size: 19 x 11 3/4 inches.
A striking image from Lewis's "Aboriginal Portfolio."
Billy Shane does not appear on as a signer of the Treaty of Mississinewa, which was between the Miami and the U.S., and not the Shawnee, so Lewis appears to have confused the occasion. More interesting is his having been with the Americans in the Battle of the Thames, fought against the British and Native Americans under Tecumseh.
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians, preceding the works of Catlin and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of the Lewis portraits derive from drawings done at these treaty meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17731$2,400.00
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 LEWIS, After James Otto (1799-1858)
Waa-Ba-Shaw A Celebrated Sioux Chief. Painted at the Treaty of Prarie de Chien 1825 by J.O. Lewis
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 17 11/16 x 11 inches.
A striking image from Lewis's "Aboriginal Portfolio."
Waa-Pa-Shaw, better known as Wabasha, was chief of a Kiowa tribe of the Mdewakanton Sioux. He was treated with great respect by all the Sioux. He recommended non-resistance to the whites, though he and his people were removed twice to new settlements. He was described by General Whiting in 1820 as a small man with an eyepatch, "but who walked about with the air of an ancient king." (Horan). He was the first Native signer of the Prairie de Chien Treaty, indicating his importance among the assembled chiefs.
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of Lewis's portraits were derived from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17733$750.00
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 LEWIS, After James Otto (1799-1858)
Nabu-Naa-Kee-Shick or The One Side of the Sky A Chippewa Chief. Painted at the Treaty of Fond du Lac (on Lake Superior) by J.O. Lewis 1826.
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 17 15/16 x 11 1/8 inches.
A striking image from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of Lewis's portraits derive from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17735$2,850.00
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 LEWIS, After James Otto (1799-1858)
Sun-A-Get or Hard Times. A Pottawatomie Chief. Taken at the Treaty of Massinnewa Indiana by J. O. Lewis 1827.
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 17 15/16 x 11 1/8 inches.
A striking image from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of Lewis's portraits derive from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17736$950.00
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 LEWIS, After James Otto (1799-1858)
Pe-A-Jick A Chippewa Chief. Taken at the Treaty of Prairie du Chien 1825 by J. O. Lewis.
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 17 15/16 x 11 1/4 inches.
A striking image from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of the originals published here were executed by Lewis in this period. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17737$950.00
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 LEWIS, After James Otto (1799-1858)
Brewett. A Celebrated Miami Chief. Taken at the Treaty of Massinnewa by J. O. Lewis 1827.
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 18 1/8 x 11 inches.
A striking image from Lewis's "Aboriginal Portfolio."
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued.
James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of the originals published here were executed by Lewis in this period. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865.
Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23.
#17738$1,400.00
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 LEWIS, After James Otto (1799-1858)
Kee-Me-One or Rain A Chippeway Chief. Painted at Fond du Lac 1827 by J. O. Lewis.
[Philadelphia: published by the author, 1835-36]. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 15 15/16 x 11 1/8 inches.
A striking image from Lewis's "Aboriginal Portfolio."
KeeMeOne (or KeeMeeWun) is listed as a signer of the Fond du Lac treaty of 1826 between the United States and the Chippewa, which re-confirmed the Prairie du Chien treaty ceding rights to mineral expliration and mining in Chippewa land. This treaty was also signed by Lewis Cass, Thomas McKenney, James Otto Lewis and Henry Schoolcraft.
The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Ab | | | |
