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browsing 4487 items
displaying items 3901 to 4000
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 SAYER, Robert and John BENNET (publishers)
The American Military Pocket Atlas; being an approved collection of correct maps, both general and particular, of the British Colonies; especially those which now are, or probably may be the Theatre of War: Taken principally from the actual surveys and judicious observations of engineers De Brahm and Romans; Cook, Jackson, and Collett; Maj. Holland, and other officers
London: Printed for R. Sayer and J. Bennet, [1776]. Octavo (8 11/16 x 5 3/8 inches). Letterpress text: title (verso blank), 1p. 'List of maps' (verso blank), 2pp. dedication to 'Gov. Pownall', 2pp. 'Advertisement', 6 folding engraved maps, all hand-coloured in outline. Expertly bound to style in 18th-century diced half russia over contemporary marbled paper-covered boards, the flat spine divided into six compartments by gilt double fillets, lettered in gilt in the second compartment, modern blue morocco-backed cloth box.
The 'Holster Atlas' : one of the most important atlases of the American Revolution designed for use in the field. The 'Holster Atlas' was issued at the suggestion of Governor George Pownall and included the 'maps that the British high command regarded as providing essential topographical information in the most convenient form' (Schwartz & Ehrenberg)
This collection of maps was published by Sayer and Bennet at the beginning of the Revolution for the use of British officers. 'Surveys and Topographical Charts being fit only for a Library, such maps as an Officer may take with him into the Field have been much wanted. The following Collection forms a Portable Atlas of North America, calculated in its Bulk and Price to suit the Pockets of Officers of all Ranks' (Advertisement). Although the publishers claimed the atlas would fit into an officer's pocket, it was more usually carried in a holster and thus gained its nick-name.
The six maps are as follows:
1. DUNN, Samuel. 'North America, as divided amongst the European Powers. By Samuel Dunn, Mathematician London: printed for Robt. Sayer, 10 Jany. 1774.' Engraved map, hand-coloured in outline (13 1/4 x 18 inches). Engraved for Dunn's 'A New Atlas' (London: 1774).
2. DUNN, Samuel. 'A compleat map of the West Indies, containing the coasts of Florida, Louisiana, New Spain, and Terra Firma: with all the islands.' London: Robt. Sayer, 10 January 1774. Engraved map, hand-coloured in outline (13 1/8 x 18 1/2 inches). Engraved for Dunn's 'A New Atlas' (London: 1774).
The 'Advertisement' describes these first two maps as 'a general map of the part of the globe, called North America, and a second general map of those islands, shores, gulfs, and bays, which form what is commonly called the West Indies; these we consider as introductory, and as giving a general idea, and we trust a just one.'
3. 'A general map of the Northern British Colonies in America. which comprehends the Province of Quebec, the Government of Newfoundland, Nova-Scotia, New-England and New-York. from the maps published by the Admiralty and Board of Trade, Regulated by the astronomic and trigonometric observations of Major Holland and corrected from Governor Pownall's late Map 1776. London: Robt. Sayer & Jno. Bennet, 14 August 1776.' Engraved map, hand-coloured in outline (20 1/2 x 26 1/2 inches). First state, also issued as a separate map. This map was re-issued in 1788 with the title changed to reflect the new political realities. McCorkle New England 776.11; Sellers & Van Ee 143; Stevens & Tree 65
4. EVANS, Lewis. 'A general map of the Middle British Colonies, in America. containing Virginia, Maryland, the Delaware Counties, Pennsylvania and New Jersey. With the addition of New York, and the greatest part of New England, as also of the bordering parts of the Province of Quebec, improved from several surveys made after the late war,and corrected from Governor Pownall's late Map 1776. London: R. Sayer & J. Bennet, 15 October 1776.' Engraved map, hand-coloured in outline (20 1/8 x 26 1/2 inches). Based on Lewis Evans' map of 1755, with additions and corrections. Cf. Stephenson & McKee Virginia p.82 (an image of the Evans map)
5. ROMANS, Bernard. 'A general map of the Southern British Colonies, in America. comprehending North and South Carolina, Georgia, East and West Florida, with the neighbouring Indian countries. From the modern surveys of Engineer de Brahm, Capt. Collet, Mouzon & others; and from the large hydrographical survey of the coasts of East and West Florida. By B. Romans. London: R.Sayer & J. Bennett [sic.], 15 Octr. 1776.' Engraved map, hand-coloured in outline (20 3/4 x 25 5/8 inches). Based on charts and maps by Roman and others.
6. BRASSIER, William Furness (1745-1772). 'A Survey of Lake Champlain including Lake George, Crown Point and St. John, Surveyed by order of ... Sr. Jeffery Amherst ... by William Brassier, draughtsman. 1762. London: Robt. Sayer & Jno. Bennet, 5 Aug., 1776.' Engraved map, hand-coloured in outline (29 1/8 x 21 5/8 inches). Also issued as the first separately published map of Lake Champlain, this excellent detailed chart was based on a survey made during the French and Indian War, but not published until the Revolution. Included is an inset illustrating America's first naval battle, in which General Benedict Arnold, though forced back down the lake, was able to delay the British attempt to descend to the Hudson for that year. No mention, of course, is made of Ethan Allen's taking of Fort Ticonderoga in 1775.
Fite & Freeman A Book of Old Maps pp.212-216; Howes A208; Nebenzahl Atlas of the American Revolution pp.61-63; Phillips Atlases 1206; Rumsey p.311; Sabin 1147; Schwartz & Ehrenberg p.190; Streeter Sale 73.
#19184 $35,000.00  
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 SCHENAU, After Johann Eleazar (1737-1806)
'Une petite fille reçevant ses étrennes' [A little girl receives her gifts]
[Frankfurt: circa 1770]. Engraving, by Juste Chevillet, after Schenau (1 1/2 inch tear to left margin). Image size (including text): 17 1/2 x 13 7/8 inches. Sheet size: 25 5/8 x 18 7/8 inches.
A fine first state impression of this charming image, printed 'avant la lettre': before the addition of any lettering to the title panel.
A lady of fashion, seated in an opulent interior, surounded by the trappings of wealth, leans forward slightly to hand some coins to her daughter. The small child stands looking up at her mother, one hand clasping an overflowing apron full of presents: a tankard, a corset. A note of piquancy is added by the child's gesture with her other hand: she holds it up to her lips as if to say "The gift of a single kiss from you would mean more to me than all these material gifts".
Le Blanc II, p.11, no.81
#6491$1,400.00
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 SCHENCK, Peter (1645-1715)
[The Celestial Hemispheres] Planisphærium Coeleste
Amsterdam: circa 1705. Copper-engraved celestial map, with full original colour. Sheet size: 20 x 23 1/2 inches.
A magnificent double hemisphere celestial chart by one of the period's greatest mapamakers
This double hemisphere celestial chart gives the Classical constellations north and south as well seven illustrations of various astronomical theories and phenomena including a comparison of stellar magnitudes, three theories of the planetary arrangement of our system, an illustration of lunar eclipses, the lunar influence on tides and the passage of the earth around the sun.
Koeman, Atlantes Neerlandici, Sche 1 & p.119
#12154$4,500.00
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 SCHENK, Peter (1645-1715)
[The World] Diversa orbis Terræ. visu incedente per coluros tropicorum, ambos ejus polos, et particularis sphæræ zenith, in planum orthographica projectio... Plat Ontwerp van verscheyde Aert-klooten
Amsterdam: Peter Schenk, 1706. Copper-engraved map, with full original colour, in very good condition apart from one small expertly repaired tear to the old central fold, and two small repaired tears to coastlines. Sheet size: 21 1/8 x 24 11/16 inches.
A significant milestone in the history of cartography between the highly decorated 17th century Dutch style and the more `rational' style of cartography of the mid-18th century
Peter Schenk was a very prolific Amsterdam mapmaker working in the great Dutch cartographical tradition. Schenk's spectacular map is based on Carel Allard's map of 1696 (Shirley, 578). Shirley's description of the Allard image is equally relevant to the present example: 'The traditional decorative border of many seventeenth-century world maps has disappeared, and ... [the] twin central hemispheres are surrounded by eight smaller projections depicting the world from various angles, and four smaller circular diagrams. The dark cross-hatched background provides a striking contrast.' This map represents a radical departure from what had become a traditional format in Dutch 17th-century maps where the margins would be full of classical mythological figures and references. Here we have a more strictly scientific approach with only a handful of cherubs parceled in between the two largest hemispheres.
Cf. Koeman, Atlantes Neerlandici III, p. 119 no. 6; cf. Shirley, The Mapping of the World, 578
#8184$7,500.00
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 SCHETKY, After John Christian (1778-1874)
This Plate representing the Royal Squadron in Leith Roads, at the moment of King George 4ths. leaving the Royal Yacht to Land in Scotland. is most respectfully dedicated to His most Gracious Majesty
London: 1824. Aquatint printed in blue, coloured by hand, by W. Bennett after Schetky. Sheet size: 14 x 20 9/16 inches.
A fine aquatint by William James Bennett after Schetky recalling the landing of King George IV at Leith in Scotland.
Following his coronation in July of 1821, George IV visited Ireland in August and September of the same year. The following summer he sailed for Scotland landing at Leith on 14 August, he remained in Edinburgh until 29 August before returning to England. Schetky, Marine Painter Extraordinary to the King and the Duke of Clarence, here recalls the events at Leith.
Not in Deak William James Bennett Master of the Aquatint View New York, 1988
#3535$2,750.00
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 SCHILE, H.
Central Park New York, Preparing for A Drive.
circa 1875. Hand-coloured lithograph. 17 ¾ x 24 3/8 inches, plus black-printed border, 1½ inches, extending to the sheet edges. Image size (including text): 17 3/4 x 24 1/4 inches. Sheet size: 20 1/2 x 26 7/8 inches.
This large, colorful and lively depiction of two children and their mother near one of the lakes in Central Park is typical of the prints issued by Charles Schile, a German immigrant, whose black borders are a common feature. The goat pulled children's carriage and the luxurious clothing denote an aristocratic New York family. Central Park was open to the poorer class once a week, and sometimes not even then.
Harry T. Peters, America on Stone, pp. 358-359.
#10263$750.00
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 [SCHLEGEL, Hermann (1804-84), and Abraham Hendrik VERSTER van Wulverhorst] - Josef Mathias WOLF (1820-1899, artist)
[Traité de Fauconnerie]
[Leiden & Dusseldorf: chez Arnz & Comp., 1844-1853]. 12 very fine hand-coloured lithographic plates (each circa 26 1/2 x 20 inches, 10 after J. Wolf [with backgrounds after C.Scheuren or G. Saal] by Wendel, 2 after and by Portman and von Wouw), each contained in an individual mat. (Expert repairs to margins of five plates).
All the greatest plates from 'the finest work on falconry which has ever been produced; not only on account of the beauty of the plates, wherein the hawks are depicted life-size and of natural colours, but also for the general accuracy of the text' (Harting)
These very fine plates are from the first edition of 'a superb work. The life size illustrations are by far the finest ever produced in any book on falconry. It is impossible to describe the mellowness and beauty of the colourings' (Schwerdt). The ten plates of individual birds are from originals by Josef Wolf the 'German artist who ranks among the world's finest animal painters' (Jackson), and the present images were largely responsible for launching his international career as an animal painter. 'Wolf's success lay in his sketching from life after painstaking study of the anatomy of the animals, and his care to get the structure correct and then paint fur and feather with extraordinary fidelity. But all the marvelous technique and deep knowledge was subservient to his ability to capture a moment in the life of his subject and preserve it in paint. Archibald Thorburn said of Wolf's pictures, "There is an indescribable feeling of life and movement attained by no other wildlife artist"' (Jackson). Sir Edwin Landseer went further, describing Wolf as 'without exception, the best all-round animal painter that ever lived'.
The plates are titled as follows:
1. Le Groënlandais, faucon blanc mué
2. Le tiercelet hagard de faucon d'Islande
3. Le tiercelet hagard gerfaut
4. Le gerfaut sors
5. Le sacre hagard
6. Le lanier hagard
7. Le faucon hagard
8. Le tiercelet sors de faucon, au plumage de cresserelle
9. L'autour hagard
10. Le tiercelet sors de l'autour
11. [hawking accessories]
12. [hawking accessories]
Cottrell 24; Fine Bird Books (1990) p.138; Harting 194; Christine Jackson Dictionary of Bird Artists of the World p.496; Nissen IVB 832; Schwerdt II, p.150
#13532$24,000.00
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 SCHOMBURGK, Sir Robert Herman (1804-1865)
The Comuti or Taqulare Rock, on the River Efsequibo
London: Ackermann & Co., 1840. Hand-coloured lithograph after Charles Bentley. Very good condition apart from some overall light soiling, a skillfully repaired 1" tear in the right margin. Image size (including text): 11 1/4 x 16 inches. Sheet size: 13 5/8 x 17 3/8 inches.
A magnificent view from Schomburgk's "Twelve Views in the Interior of Guiana"
This stunning print is from a series of views of Guiana by Charles Bentley, executed as illustrations for Robert Schomburgk's magnificent work on the region. Considered one of the greatest explorers of his day, Schomburgk's discoveries uncovered a wealth of new species that remain some of our most fascinating and beautiful plants. His contributions to the exploration of Guiana will forever be remembered.
Schomburgk's career began when he undertook a trip to study the terrain and plant life of British Guiana under the direction of the Royal Geographical Society. This famous exploration uncovered many new species of orchids and brought to the English shores the celebrated giant water lilies known as Victoria regia and Elizabetha regia. He successfully mapped a division line between British Guiana and Venezuela, which would later come to be known as the Schomburgk line. Following innumerable other geographical and botanical explorations, Schomburgk was appointed British consul at Santo Domingo and later at Bangkok. His work changed the field of geographical study and brought a greater understanding of those far off lands to an eager English public. Bentley's beautiful views perfectly illustrate Schomburgk's insightful observations and fascinating discoveries.
Cf. Abbey Travel 720; cf. Tooley 447; cf. Sabin 77796.
#8882$1,500.00
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 SCHOMBURGK, Sir Robert Herman (1804-1865)
Purumama / The Great Cataract of the River Parima
London: Ackermann & Co., 1840. Hand-coloured lithograph after Charles Bentley. Very good condition apart from some overall light soiling. Image size (including text): 11 3/8 x 16 1/8 inches. Sheet size: 13 1/2 x 17 1/2 inches.
A magnificent view from Schomburgk's "Twelve Views in the Interior of Guiana"
This stunning print is from a series of views of Guiana by Charles Bentley, executed as illustrations for Robert Schomburgk's magnificent work on the region. Considered one of the greatest explorers of his day, Schomburgk's discoveries uncovered a wealth of new species that remain some of our most fascinating and beautiful plants. His contributions to the exploration of Guiana will forever be remembered.
Schomburgk's career began when he undertook a trip to study the terrain and plant life of British Guiana under the direction of the Royal Geographical Society. This famous exploration uncovered many new species of orchids and brought to the English shores the celebrated giant water lilies known as Victoria regia and Elizabetha regia. He successfully mapped a division line between British Guiana and Venezuela, which would later come to be known as the Schomburgk line. Following innumerable other geographical and botanical explorations, Schomburgk was appointed British consul at Santo Domingo and later at Bangkok. His work changed the field of geographical study and brought a greater understanding of those far off lands to an eager English public. Bentley's beautiful views perfectly illustrate Schomburgk's insightful observations and fascinating discoveries.
Cf. Abbey Travel 720; cf. Tooley 447; cf. Sabin 77796.
#8883$1,500.00
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 SCHOOLCRAFT, Henry Rowe (1793-1864)
Historical and Statistical Information, Respecting the History, Conditions and Prospects of the Indian Tribes of the United States: Collected and Prepared under the Direction of the Bureau of Indian Affairs.
Philadelphia: Lippincott, Gambo & Co. [vols.I-IV] or J.B. Lippincott & Co. [vols.V-VI], 1851-1851-1851-1854-1855-1857. 6 volumes bound in twelve, quarto (12 1/2 x 9 3/4 inches). Half-titles. 6 steel-engraved additional titles, 1 steel-engraved portrait of Schoolcraft to front vol.VI, 1 folding letterpress table, 329 engraved or lithographed plates, plans and maps after Seth Eastman and others (including the "Map of Kansas River", plate 43, p.159, vol.I, not found in later issues), some tinted, many hand-coloured or chromolithographed. Later deep maroon half morocco over red cloth-covered boards by Riviere & Son, spines in six compartments with raised bands, the bands highlighted with a dot roll-tool, lettered in the second and third compartments, the others with repeat decoration of panelling surrounding a central arabesque tool, g.e.
A fine set of uniformly early issues of the first edition of Henry Schoolcraft's masterpiece, this one of "only a few copies" with the "comparatively numerous colored plates of the first volume... in [a] colored state" (Bennett). This work is the most extensive work on Native Americans published in the 19th-century containing 'a vast mass of really valuable information' (Field), and a cornerstone of any collection of ethnological studies on America.
The work was commissioned under the administration of Millard Fillmore, initiated by the Department of the Interior. (Fillmore's message to Congress, dated 10 August 1850, is reprinted at front of vol. 1). Publication was continued and completed during Buchanan's term. The present set is made up from uniformly early issues of the first edition, this is particularly desirable where volume I is concerned as it not only includes a plate that is not present in the late issues (the "Map of Kansas River", plate 43, p.159), but also includes many more hand-coloured, or chromolithographed plates than the later issues. According to Bennett "It is said that the comparatively numerous colored plates of the first volume are all to be found, in colored state, in only a few copies". The copy in hand would appear to be one of these few. Only about fourteen maps or plates in the first volume of this set have no color or tint. There are many plates (and some maps in the second through sixth volumes) which have been handsomely and expertly colored (often by hand) throughout the set, but most frequently in the first volume.
Born near Albany, N.Y., Schoolcraft took part in a number of important early surveying expeditions before being appointed commissioner of Indian Affairs in 1822. With his headquarters at Sault Sainte Marie, he married the half-Ojibwa daughter of a local fur-trader, learnt the Ojibwa language and began his ethnographical researches in earnest. He retained his position for almost twenty years and made full use of the unequalled opportunities it provided him. A change in government in 1841 resulted in him losing his position and moving back to the East, but he continued his Native American studies and the first volume of the present work was published in 1851. The work was completed with the publication of the sixth volume in 1857. Howes notes that the work as a whole 'contains a vast mass of really valuable material. It has indeed performed a very important service for Indian history, in collecting and preserving an immense amount of historic data. Vocabularies of Indian languages, grammatical analyses, legends of various tribes, biographies of chiefs and warriors, narratives of captivities, histories of Indian wars, emigrations, and theories of their origin, are all related and blended in an extraordinary.... manner.' (p.353).
The other aspect of the work that gives it immense additional value is the large body of work by Seth Eastman (1808-1875). Eastman, a serving officer in the U.S. Army, had trained as a topographical artist: a discipline which necessitated a rigourous almost 'photographic' approach to the subject and is ideally suited to the task of recording landscape, objects and individuals as accurately as possible. His work as a whole has ensured that he is now viewed as the foremost pictorial historian of Native American history and culture. The vast majority of the plates in the present work are either from his original drawings or from copies by him of others work. 'A very large number of beautiful steel engravings, representative of some phase of Indian life and customs, are contained in the work, but the most valuable of its illustrations are the drawings of weapons, domestic utensils, instruments of gaming and amusement, sorcery and medicine, objects of worship, their sculpture, paintings, and fortifications, pictograph writing, dwellings, and every form of antiquities.' (Field p.353)
Howes S183, "b;" Field, p.353; Sabin 77849; Bennett, p.95; Servies 3691.
#20866$27,500.00
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 SCHRÄMBL, Franz Anton (1751-1803)
[North America and the West Indies] Generalkarte von Nordamerika sant den Westindischen Inseln
Vienna: 1788. Copper-engraved map, with original outline colour, on four unjoined sheets, with full natural margins, in excellent condition. Sheet size of each 24 1/3 x 33 inches.
A finely engraved monumental map of North America depicted shortly after the American Revolution, by a great Austrian cartographer.
This is one of the largest depictions of North America made during the eighteenth-century. Schrämbl, who was by then one of Austria's most prominent cartographers, directly based this work on the map by Thomas Pownall. Pownall, a British MP, and formerly the governor of New Hampshire and Massachusetts, first produced this map in 1777. Schrämbl based his work on Pownall's 1783 second state, which showcases the former thirteen colonies as the newly independent United States of America. It was included as one of the principal maps of his grand work, the Allgemeiner Grosser Atlas.
The immense scope of Schrämbl map's takes in all of the territory from James Bay, all the way down into the Spanish Main of South America. The map shows the newly independent American republic to be a small nation hugging the Atlantic seaboard, while the vast lands of the Ohio and Mississippi basins are shown to be largely uninhabited.
The map covers all regions in great geographic detail. One of the most attractive features of the map is its pictorial representation of Native American villages, trading posts, mines and other features. Mexico, Central America, and the broad chain of the West Indian archipelago are also elegantly portrayed. The map features two fascinating cartographic insets; the first of which depicts Hudson's Bay and the Canadian Arctic; the latter supposedly containing the entrance to the purported Northwest Passage. The second inset features the head of the Sea of Cortes in the southwest, evincing Father Eusabio Kino's declaration that California is not an island, based on his exploration of the area from 1698 to 1701. This elegant compostion is further embellished by a large cartouche of rocaille ornamentation.
Cf. Kohlmaier, Ursula, Der Verlag Franz Anton Schrämbl (Doctoral Dissertation, University of Vienna, 2001); McCorckle, New England in Early Printed Maps, 788.6
#19597$3,400.00
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 SCHWARTZ, Seymour I. and Ralph E. EHRENBERG
The Mapping of America
New York: Harry N. Abrams, Inc., 1980. 11 x 11 3/4". 363pp., 354 illustrations, including 84 plates in full color. White cloth, illustrated dust jacket.
A compilation of all the major collections of maps of America, public and private.
#15531$70.00
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 SCOTT, After Sir Peter Markham (1909-1989)
[Teal (Anas crecca)]
London: The Curwen Press for Arthur Ackermann, December 1981. Coloured offset-lithograph by the Curwen Press, signed in pencil by the artist (lower right just beneath the image) In pristine condition. Image size (including text): 13 5/8 x 20 3/4 inches. Sheet size: 19 5/8 x 25 1/8 inches.
A very fine signed print from the one of the greatest bird artists of the 20th century.
An exquisite image of a flock of teal coming in to land in the wetlands on a mid-winter's afternoon.
Sir Peter Scott was best known in later life for his work as a founding member and chairman of the World Wildlife Fund, but in "the period before and after the war, Peter Scott became undoubtedly the most popular artist in the United Kingdom" (J. Ford, Ackermann 1783-1983, 1983, p.202). The son of the Antarctic explorer Captain Robert Falcon Scott, Sir Peter initially turned to wildlife art as an extension of his early love of wildfowling. He traveled the world, hunting and painting rare birds. He held his first one-man exhibition at Ackermann's in 1933, and from the late 1930s onwards became increasingly concerned with conserving wildfowl rather than hunting them. From 1946, in tandem with a series of highly successful shows at Ackermann's, Sir Peter founded and ran the Wildfowl Trust which has gone on to become a major force in the conservation of endangered duck and geese. From 1935 up until about 1983, Ackermann's published a limited number of colour prints of Sir Peter's work. Many of the original oils are in major private and public collections, and these prints, signed by the artist himself, offer a rare chance to own an image by one of the greatest bird artists of the 20th century.
#5200$300.00
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 SCOTT, After Sir Peter Markham (1909-1989)
[Widgeon (Anas penelope) and Pinkfooted geese (Anser brachyrhynchus)]
London: The Curwen Press for Arthur Ackermann, June 1982. Coloured offset-lithograph by the Curwen Press, signed in pencil by the artist (lower right just beneath the image). In pristine condition. Image size (including text): 13 3/4 x 20 7/8 inches. Sheet size: 19 7/8 x 25 1/8 inches.
A very fine signed print from the one of the greatest bird artists of the 20th century.
Sir Peter Scott was best known in later life for his work as a founding member and chairman of the World Wildlife Fund, but in "the period before and after the war, Peter Scott became undoubtedly the most popular artist in the United Kingdom" (J. Ford, Ackermann 1783-1983, 1983, p.202). The son of the Antarctic explorer Captain Robert Falcon Scott, Sir Peter initially turned to wildlife art as an extension of his early love of wildfowling. He traveled the world, hunting and painting rare birds. He held his first one-man exhibition at Ackermann's in 1933, and from the late 1930s onwards became increasingly concerned with conserving wildfowl rather than hunting them. The present image is a print from a painting completed in 1940. By this time Sir Peter had given up hunting completely. From 1946, in tandem with a series of highly successful shows at Ackermann's, Sir Peter founded and ran the Wildfowl Trust which has gone on to become a major force in the conservation of endangered duck and geese. From 1935 up until about 1983, Ackermann's published a limited number of colour prints of Sir Peter's work. Many of the original oils are in major private and public collections, and these prints, signed by the artist himself, offer a rare chance to own an image by one of the greatest bird artists of the 20th century.
#5201$300.00
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 SCOTT, After Sir Peter Markham (1909-1989)
Greylags over Chapel Island
London: Published by Arthur Ackermann & Son Ltd., 157 New Bond Street, July 1938. Coloured offset-lithograph. Signed in pencil by the artist (lower right just beneath the image). Fine Art Trade Guild blindstamp in lower left corner of sheet. In pristine condition. Image size: 13 7/8 x 21 inches. Light wood frame with grey wash-line mount. Frame size: 23 x 29 7/8 x 7/8 inches.
A lovely early signed print from the one of the greatest bird artists of the 20th-century.
This is one of the earlier Scott prints published by Ackermann, a dramatic scene of a flock of greylags flying over a gentle sea, with Chapel Island in the background.
Sir Peter Scott was best known in later life for his work as a founding member and chairman of the World Wildlife Fund, but in "the period before and after the war, Peter Scott became undoubtedly the most popular artist in the United Kingdom" (J. Ford Ackermann 1783-1983 1983, p.202). The son of the Antarctic explorer Captain Robert Falcon Scott, Sir Peter initially turned to wildlife art as an extension of his early love of wildfowling. He traveled the world, hunting and painting rare birds. He held his first one-man exhibition at Ackermann's in 1933, and from the late 1930s onwards became increasingly concerned with conserving wildfowl rather than hunting them. From 1946, in tandem with a series of highly successful shows at Ackermann's, Sir Peter founded and ran the Wildfowl Trust which has gone on to become a major force in the conservation of endangered duck and geese. From 1935 up until about 1983 Ackermann's published a limited number of colour prints of Sir Peter's work. Many of the original oils are in major private and public collections, and these prints, signed by the artist himself, offer a rare chance to own an image by one of the greatest bird artists of the 20th century.
#9864$600.00
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 SCOTT, After Sir Peter Markham (1909-1989)
Pintails on a Hazy Day
London: Published by Arthur Ackermann & Son Ltd., 3, Old Bond Street, March 1970. Coloured offset-lithograph. Signed in pencil by the artist (lower right just beneath the image). Pencil and watercolour remarque of a pintail in lower left corner. In pristine condition. Image size: 14 x 21 inches. Light wood frame with blue wash-line mount. Frame size: 22 11/16 x 29 5/8 x 7/8 inches.
A lovely signed and remarqued print from the one of the greatest bird artists of the 20th-century.
A tranquil scene of pintails in mid-flight over a still pool.
Sir Peter Scott was best known in later life for his work as a founding member and chairman of the World Wildlife Fund, but in "the period before and after the war, Peter Scott became undoubtedly the most popular artist in the United Kingdom" (J. Ford Ackermann 1783-1983 1983, p.202). The son of the Antarctic explorer Captain Robert Falcon Scott, Sir Peter initially turned to wildlife art as an extension of his early love of wildfowling. He traveled the world, hunting and painting rare birds. He held his first one-man exhibition at Ackermann's in 1933, and from the late 1930s onwards became increasingly concerned with conserving wildfowl rather than hunting them. From 1946, in tandem with a series of highly successful shows at Ackermann's, Sir Peter founded and ran the Wildfowl Trust which has gone on to become a major force in the conservation of endangered duck and geese. From 1935 up until about 1983 Ackermann's published a limited number of colour prints of Sir Peter's work. Many of the original oils are in major private and public collections, and these prints, signed by the artist himself, offer a rare chance to own an image by one of the greatest bird artists of the 20th century.
#9885$850.00
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 SCOTT, After Sir Peter Markham (1909-1989)
[Flock of Geese]
London: Published by Arthur Ackermann & Son Ltd., 157 New Bond Street, 1937. Coloured offset-lithograph. Signed in pencil by the artist (lower right just beneath the image). Printed without publication line or title. In excellent condition. Image size: 16 x 24 1/8 inches. Sheet size: 20 1/4 x 27 1/2 inches.
A lovely early signed print from the one of the greatest bird artists of the 20th-century.
This is one of the earlier Scott prints published by Ackermann, a dramatic scene of a flock of geese flying in a cloudy sky over the wetlands.
Sir Peter Scott was best known in later life for his work as a founding member and chairman of the World Wildlife Fund, but in "the period before and after the war, Peter Scott became undoubtedly the most popular artist in the United Kingdom" (J. Ford, Ackermann 1783-1983 1983, p.202). The son of the Antarctic explorer Captain Robert Falcon Scott, Sir Peter initially turned to wildlife art as an extension of his early love of wildfowling. He traveled the world, hunting and painting rare birds. He held his first one-man exhibition at Ackermann's in 1933, and from the late 1930s onwards became increasingly concerned with conserving wildfowl rather than hunting them. From 1946, in tandem with a series of highly successful shows at Ackermann's, Sir Peter founded and ran the Wildfowl Trust which has gone on to become a major force in the conservation of endangered duck and geese. From 1935 up until about 1983 Ackermann's published a limited number of colour prints of Sir Peter's work. Many of the original oils are in major private and public collections, and these prints, signed by the artist himself, offer a rare chance to own an image by one of the greatest bird artists of the 20th century.
#14729$850.00
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 [SCOTT-WARING, John (1747-1819)]
An Epistle from Oberea, Queen of Otaheite, to Joseph Banks, Esq. translated by T.Q.Z. Esq. professor of the Otaheite language in Dublin, and all the languages of the undiscovered islands in the South Sea; an enriched with historical and explanatory notes
London: Printed for John Almon, 1774. Quarto (10 1/8 x 7 7/8 inches). 15pp. Modern straight-grained morocco and cloth, gilt, spine richly gilt.
"The third edition" of this popular lyrical satire at the expense of the eminent British naturalist, Sir Joseph Banks and his supposed dalliance with the Queen of Tahiti during Captain James Cook's first voyage
The description of Queen Oberea of Tahiti in Hawkesworth's account of Captain James Cook's first voyage ensured that she became an object of fascination for the British. The apparent fact that Joseph Banks, the young, wealthy, and handsome young botanist aboard the `Endeavour', and Queen Oberea had been lovers only added to this fascination. One of the results of this interest is the present work: written in imitation of Ovid, the poem pokes fun at Banks and his purportedly amorous shore leave on Tahiti. The poem masquerades as an affectionate letter from Queen Oberea of Tahiti, who recollects her encounters with Banks. In the text, which incorporates notes from Hawkesworth's account of Cook's first voyage, Banks is cast as Ulysses and the Queen as Calypso. The true author of the work has been identified as Major John Scott-Waring of the East India Company. The first edition of this poem was published in 1773 and a second letter from the Tahitian Queen appeared in 1774.
Beddie 3915; cf. Holmes 11 (the first edition); Kropelien 1166; O'Reilly-Reitman 9791.
#17335$2,000.00
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 SCUDDER, Samuel Hubbard (1837-1911)
The butterflies of the eastern United States and Canada with special reference to New England
Cambridge, Mass.: published by the Author, [November 1888 - October] 1889. 3 volumes, quarto (10 5/8 x 7 3/4 inches). Half-titles, 2pp. list of subscribers, 2 small format errata slips. 3 portrait frontispieces (1 chromolithographed, 1 printed in three colours, 1 uncoloured), 1 folding uncoloured map, 3 maps printed in three colours (2 folding), 89 maps and plates (21 chromolithographs [10 of butterflies and moths, 4 of eggs, 4 of caterpillars and 3 of pupa,] 15 distribution maps printed in two colours, 53 uncoloured.) (Old creasing to folding map at back of vol.III). Contemporary red half morocco gilt, spines in six compartments with raised bands, lettered in the second and fourth, sprinkled edges (extremities rubbed, joints weak).
An important 19th-century colour plate book and American natural history work
Samuel Scudder's work, one of the most important books about butterflies published in America in the 19th century, was an elaborate publication employing the latest production methods for the plates. The work exemplifies the rapidly changing late 19th-century world of illustration technology, with the finely executed chromolithographs by Thomas Sinclair & Son and Julius Bien & Co. of Philadelphia being complemented by the more scientifically precise images in black and white. These were produced using gelatin-process photographs, photogravures, and electrotypes.
Most sets of Scudder's work are found bound in three volumes, each with its own titlepage dated 1889 (as here). It is known however that the work was issued by Scudder in monthly parts over the course of a year, from November 1888 to October 1889. Particularly full information is given about the origins and production of each plate: it is interesting to note that the artists of the original drawings used in the compilation of the coloured plates of butterflies and moths (all printed by Sinclair) included J.H. Blake, S.L. Smith, G.A. Poujade and Louis Trouvelot (best known now for his astronomical drawings).
Bennett p.96; BM(NH) IV, p.1888; McGrath pp.46 & 148; Reese Stamped with a National Character 106
#19268$1,850.00
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 SCULL, William (fl.1770-75)
A Map of Pennsylvania Exhibiting not only the Improved Parts of that Province, but also its Extensive Frontiers; Laid down from Actual Surveys and Chiefly from the late map of W. Scull Published in 1770; and Humbly Inscribed to the Honourable Thomas Penn and Richard Penn Esquires True and Absolute Proprietaries & Governors of the Province of Pennsylvania and the Territories thereunto belonging.
London: Sayer & Bennett, 1775. Copper-engraved map, in very good condition. Sheet size: 29 1/8 x 53 5/8 inches.
The best depiction of Pennsylvania during the period of the American Revolution.
William Scull's extremely rare map was originally published as a separate sheet map in 1770. It was the best and most detailed map of Pennsylvania of the colonial period. Streeter called it, "the first large-scale map showing nearly all of the present state of Pennsylvania," and indeed, it represents a landmark in the mapping of the colony for this innovation. Previous maps had shown only the settled eastern part of the present state, but Scull included the area west of the Appalachian Mountains, around present-day Pittsburgh, which had been contested with France until 1763, showing the site of General Braddock's famous defeat near Fort Duquesne. He also included, in Scull's words, "the whole line run by Messrs. Mason & Dixon."
The frontier is clearly visible showing north and west Pennsylvania still devoid of settlement. No other map gives such excellent detail of the various parts of Pennsylvania. All the existing roads, towns, townships, counties, mills, factories, forges, meeting-houses and even many individual residences are located. It is interesting to note the dedication to Thomas and Richard Penn, whose intractability was a contributing factor to the mounting friction between the colonists and the King.
In 1775, Sayer and Bennett included this revised and improved version of the Scull map in Thomas Jeffery's American Atlas.
Guthorn, British Maps of the American Revolution, 101 & 150/11; Cumming, British Maps of Colonial America, p.22; Schwartz & Ehrenberg, The Mapping of America, p.170.
#7384$7,500.00
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 SEATON, Robert
Seaton's Map of Palestine, or the Holy Land, with part of Egypt. Compiled from Surveys made for the French and English Governments.
London: Josiah Neele, 1853. Hand-coloured steel engraving by Josiah Neele. Dissected and linen backed folding map. Very good condition. Sheet size: 33 1/4 x 38 1/2 inches.
[With:]
[Robert SEATON] A Companion to Seaton's Map of Palestine and Egypt. New York: Baker, Godwin & Company, 1853. Octavo (8 1/2 x 5 1/2 inches). Steel engraved frontispiece view of Jerusalem. Original dark brown embossed cloth
A large, handsome folding map of 19th century Palestine and northern Egypt , along with companion volume by Seaton
This map was designed to illustrate the geography of the Bible, and so includes many of the regions mentioned in the Old and New Testaments, as well as insets of Jerusalem, the Temple of Jerusalem, the "Grand Square of Cairo" and a view of the Sphinx and Pyramids. The map also has a large portrait of Jesus and the Woman at the Well, as part of the title cartouche. There is a decorative, marginal band that includes the Seals of several nations, including the United States and most prominently Great Britain, as well the Seal of the Knights Templar, and the regalia for Bishops and Archbishops (presumably the Church of England).
Seaton's Companion is well written and informative. The book gives a history of Palestine, and a descriptive list of prominent places and Biblical tribes in Palestine. There is a chapter on the Temple. This is followed by a long discussion of the Koran. The last part of the book concerns Egypt, giving a brief history from its origins (the people of Noah's grandson, Mizraim) to its 19th century condition. The book ends with a list of prominent Egyptian places and geographical facts.
#5602$1,750.00
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 SEBRON, After Hippolyte Victor Valentin (1801-1879)
Les Chutes de Niagara, vue générale. Niagara Falls, General View
New York: Max Jacoby, [1855 or later]. Aquatint, by Salathé, printed by Boussod Valadon & Cie. (expert repairs to margins, occasionally touching image, one small area supplied in manuscript facsimile). Image size (including text): 23 1/4 x 37 inches. Sheet size: 26 x 37 1/2 inches.
A fine uncoloured issue of a spectacular image of one the great natural wonders of the world.
Little appears to be known about Sebron. He studied painting with Louis Daguerre and began his career painting dioramas, church interiors, and occasional portraits. He spent from 1849 to about 1855 in the United States painting American views (chiefly dioramas). He first visited Niagara in 1850. There is some evidence that he returned to Canada from 1855-1863, but later lived and worked in Rome.
Cf. J. Russell Harper, Early Painters and Engravers in Canada, p. 283; cf. Lane, Impressions of Niagara, 229 (coloured issue); cf. Spendlove, The Face of Early Canada, p. 39.
#5355$2,000.00
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 SELBY, Prideaux John (1788-1867)
Cinereous Eagle, Young.
Edinburgh: 1819-1834. Engraving with thick hand colour. Printed on wove Whatman paper. In excellent condition with the exception of a mended tear on the left margin. Top left corner has been expertly made up. Plate mark: 21 3/8 x 15 5/8 inches. Sheet size: 21 7/8 x 16 1/8 inches.
A beautiful print of a Cinereous Eagle from John Selby's seminal bird book, "Illustrations of British Ornithology".
This stunning print is from volume one, "Land Birds", of Selby's celebrated bird book "Illustrations of British Ornithology". A lovely impression with stunning rich colour, the print depicts a young Cinereous eagle. The Cinereous or Sea Eagle, is one of the two eagle species specific to England and typically resides along the coast and inland waters.
Prideaux John Selby was a versatile gentleman naturalist, born on 23 July 1788 in Alnwick, Northumberland, he inherited Twizell House and its estate in 1804, and throughout his life did not neglect his duties as a landowner, magistrate, High Sheriff, and then Deputy Lieutenant of Northumberland. He married Lewis Tabitha Mitford, the daughter of Bertram Mitford of Mitford Castle, Northumberland, in 1810, and by 1817 had a happy marriage, three daughters, and a house that had become a sort of upmarket `staging-post' for naturalists heading North and South along the nearby Great North Road. Visitors were to include John James Audubon (who gave Selby and his brother-in-law Robert Mitford lessons in drawing), Sir William Jardine (one of Selby's closest friends and a collaborator on various later works), John Gould, William Yarrell, H.E.Strickland, to name but a few.
Natural History and Ornithology had been Selby's passion from youth, and Christine Jackson notes, in her excellent introduction to the Sotheby's catalogue of the sale of the Bradley Martin collection of Selby watercolours, that, besides `collecting and preserving birds, Selby had observed them in the field, making careful notes of their habitat and habits. At his leisure, he also sensitively colored drawings of them. With this accumulation of practical knowledge, specimens, and some drawings, Selby embarked in 1819 on an ambitious project to publish the most up-to-date, life-size illustrations of British birds.
Since he had an incomplete pictorial record of his birds, many remained to be drawn while publication of the parts of the work proceeded. The aim was to issue each part comprising twelve plates at regular intervals of six months. The size of the paper chosen was elephant folio (27" x 21½") in order that most of the birds might be represented life-size. For each plate, Selby made watercolor paintings of the species.'
`Selby etched his drawings on copper plates and then either took or sent the plates to William Home Lizars in Edinburgh. Either Lizars or one of his workmen took a pull [proof impression] from Selby's plate and worked on any parts necessary to bring the plate to a very fine state of completion. Selby and Sir William Jardine both purchased their copper plates and etching ground from Pontifex of London, and their letters refer to the progress made in drawing and "biting" or etching their plates. If they made a mistake or accidently over-etched a plate, they relied on Lizars to correct by burnishing to lighten it.' (Jackson, Bird Etchings, pp.202-204).
BM (NH) IV,pp.1896-1896; cf. Fine Bird Books (1990) p.141; cf. Nissen IVB 853; cf. Zimmer p.571.
#16241$1,500.00
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 SENEX, John
Switzerland and the Country of the Grisons Wherein is Described the XIII Switz Cantons with their Allies &c.
London: circa 1720. Engraving with period hand-colouring. Re-backed at centerfold. 1 x 1/2" loss to lower right corner restored. Marginal loss 1 1/4 x 3/8" at base of centerfold restored. Two marginal tears at bottom expertly repaired. Image size: 15 3/4 x 20 3/4 inches. Sheet size: 19 7/8 x 23 7/8 inches.
Early English Map of Switzerland
A contemporary of Herman Moll, John Senex was one of the most successful mapmakers during the golden age of English cartography. He issued a series of atlases with John Maxwell and C. Price, and went on to reissue Ogilby's road atlas. He was appointed Geographer to Queen Anne, and in 1728 was elected to the Royal Society. His beautiful maps are famed for their meticulous detail and ornate cartouches, and they remain some of the best examples of eighteenth century English mapmaking. In this handsome map of Switzerland, the original 13 Cantons are listed with their dates of incorporation, and around the border of the map are the crests of each canton, as well as those of their allies.
#11029$1,850.00
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 SENEX, John (1678-1740)
A New General Atlas, Containing a geographical and historical account of all the empires, kingdoms and other dominions of the world: with the natural history and trade of each country
London: printed for Daniel Browne, Thomas Taylor, John Darby [etc], 1721. Folio (20 3/4 x 13 3/4 inches). Mounted on guards throughout. Title printed in red and black with engraved vignette, 3pp. letterpress list of subscribers. 34 engraved double-page maps and town plans (comprising: 31 maps, all hand-coloured in outline, and 3 uncoloured town plans), 14pp. engraved coats-of-arms of the subscribers. 18th-century marbled calf expertly rebacked to style, covers with gilt fillet border, spine in eight compartments with raised bands, red morocco lettering-piece in the second compartment, the others with repeat decoration of stylized flower and foliage corner-pieces surrounding a lozenge-shaped area tooled with various small tools including crowns and flowerheads, comb-marbled endpapers. Provenance: Dr. Charles Morley (West Basham, Norfolk, England, subscriber, see manuscript note on verso of plate XIII, and by descent to:) Dudley Vere Morley Baldus.
A fine subscriber's copy of an atlas which Sabin notes is 'chiefly interesting for the copiousness of its information concerning America'.
A fine complete copy of this great atlas, which besides the excellent maps and town plans, includes 393 erratically numbered pages of highly informative and historically important text. Shirley describes the genesis of the atlas: "Proposals for printing were advertised in the 'Post Boy' for October 1718, and the subscribers were invited by means of insertions in other newspapers subsequently. The atlas was claimed to be based on the best authors, particularly Cluverius, Breitius, Cellarius, Blaeu, Baudrand, Hoffman, the two Sansons, Lutys and other geographers. According to the dates on them, several of the maps were engraved between 1719 and the publication of the atlas in 1721. All the maps carry Senex's name, and those stating that they were 'Revis'd by J. Senex' are ... believed to be from plates previuosly owned or published by Christopher Browne'.
The maps of American interest are titled as follows:
1. 'A New Map of America... I.Senex... I.Harris Fecit' (North and South America).
2. 'A New Map of the English Empire in America... Ion. Senex 1719... I.Harris sculp.' (Newfoundland in the north, to the tip of Florida, west to the Mississippi).
3. 'A New Map of Virginia and Maryland And Improved Parts of Pennsylvania & New Jersey... 1719... I.Senex'.
4. 'A New Map of the English Empire in the Ocean of America or West Indies... I.Senex... A New Map of the Island of Jamaica.' (Jamaica, Barbados, Bermuda, Tobago, Antigua and 'Christophers').
5. 'A Map of Louisiana and the River Mississippi by John Senex' (Gulf of Mexico to the Great Lakes)
6. 'A Drafft of the Golden & Adjacent Islands, with part of ye Isthmus of Darien as it was taken by Capt. Ienefer... a New Map of ye Isthmus of Darien in America. the Bay of Panama, The Gulf of Vallona'.
NMM 3:434; Phillips Atlases 563; Sabin 79124
#6766$42,500.00
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 SENEX, John (1678-1740)
A Plan of the City's of London, Westminster and Borough of Southwark with the new Additional Buildings Anno 1720
London: Senex, 1720. Copper-engraved map by Samuel Parker, with full modern colour, skilfully repaired split at top of centerfold, overall in very good condition. Sheet size: 20 3/8 x 25 inches.
A fascinating, highly detailed map of London by one of the leading English cartographers of the period.
This is an excellent parish by parish, block by block map of the London that was built after the Great Fire of 1666. (St. Paul's was completed in 1710). The map includes an index that locates the 87 parishes in London and Westminster, and eight in Southwark. Many parishes had new churches built between the years 1670 and 1711, 52 of which were designed and executed by Christopher Wren. Samuel Parker, the engraver, did a superb job of drawing and engraving so that minute details of the city's topography are shown.
The attractive cartouche includes symbols of London's greatness: two cornucopeias, one of fruit and one of precious metal objects and jewels. At the base is a picture of a king, presumably George II, whose sword and scepter are supported by two dragons. To the sides and behind these are symbols of British cultural and mercantile superiority.
The map is dedicated to Sir Peter Delme, a very wealthy and powerful gentleman, one of the first residents of Grosvenor Square, and, for a time, Lord Mayor.
Darlington & Howgego, Printed Maps of London, 65
#14790$2,250.00
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 SENEX, John (1678-1740)
A New Mapp [sic.] of Rome Shewing its Antient and Present Scituation.
London: J. Senex, circa 1721. Copper-engraved map by John Harris, with full modern colour, printed on laid paper, in excellent condition. Sheet size: 20 5/8 x 24 ¾ inches.
A stunning plan of Rome, by the celebrated English mapmaker John Senex.
A contemporary of Herman Moll, John Senex was one of the most successful mapmakers during the golden age of English cartography. He issued a series of atlases with John Maxwell and C. Price, and went on to reissue Ogilby's road atlas. He was appointed Geographer to Queen Anne, and in 1728 was elected to the Royal Society. His beautiful maps are famed for their meticulous detail and ornate cartouches, and they remain some of the best examples of eighteenth century English mapmaking. Like Senex's other town plans, this stunning aerial view of Rome includes separate vignettes of the city's prized Renaissance landmarks. Published with the north to the right, the city is carefully mapped out with the Tiber stretching along the outskirts. The map includes an alphabetical table of the city's noted landmarks, including churches, palaces, and ruins. There are inset views in each corner showing the Colosseum, St. Peter's cathedral, Trajan's Column and the Pyramid of Gaius Cestius.
Tooley, Maps & Map-Makers, 55
#14794$1,500.00
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 SENEX, John (1678-1740)
A New Map of Virginia Mary:Land and the Improved Parts of Pennsylvania & New Jersey
London: J. Senex, 1719 [1721]. Copper-engraved map, with original outline colour. Sheet size: 20 1/8 x 22 7/8 inches.
A highly-important and finely-drafted map of Virginia, Maryland and Delaware by a great English cartographer
This very elegant map is centered on Chesapeake Bay, and embraces all of the territory from Norfolk, Virginia up past Philadelphia in the | | | |
