Arader Galleries Important Auction June 25th & 26th, Neal Auctin

Arader GalleriesLots 80-205

NealAuctionCompanySummer Estates AuctionJune 25th & 26th, 2011

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Antiquarian and philanthropist W. Graham Arader III advises that, for each of Arader Galleries’ lots (denoted in the auction catalogue by an asterisk), Arader Galleries will donate 20% of the hammer price to any institution, museum, school, hospital, foundation, botanical garden, zoo, research library or university which is designated by the buyer and is an IRS approved charity.

The buyer’s designation should be made to Mr. Arader within 35 days of the auction. His contact details are as follows:Mr. W. Graham Arader III, 29 East 72nd Street, New York, NY 10021, Phone: 212 628-3668, Email: [email protected]

Please be advised that all aspects of the designation and donation will be handled directly by Mr. Arader and Arader Galleries. Donations are the responsibility of Arader and will be made following Arader’s receipt of sale proceeds upon the settlement of the sale.

Neal Auction Company is pleased to present lots 80 through 205 from Arader Galleries; most lots are offered without reserve.

*80. A Monumental Antique Scottish 30-Inch Terrestrial Library Globe, c. 1915, the cartouche reading “30-Inch/ Terrestrial Globe/ by/ W. & A. K. Johnston [A.J. Nystrom & Co., US Agents, Chicago]/ Geographers, Engravers/ and Printers/ Edinburgh & London”, the 30-inch sphere with hour dial, nickel plated meridian with degree marks, set on roller bearings, within a full rotating mount, the paper horizon band with months and zodiac, the Arts and Crafts style quarter-sawn oak base on molded feet, full height 54 in., full diameter 37 in.

$25000/35000

Note: William (1802-1888) and Alexander Keith (1804-1871) Johnston began as ap-prentices to the Scottish globe maker and publisher James Kirkwood before his workshop suffered a fire. Setting up their own workshop, they became one of the most successful globe makers in the world. Their largest globe, seen in this lot, made for institutions or the most prestigious of private libraries, won a number of medals in the Great Exhibition. As was common in the day, the cartouche bears a small overlay label over the Johnston name from the Chicago globe retailer A.J. Nystrom, who was one of several Chicago retail-ers who imported Johnston’s globes. Interestingly, the gores for this globe bear the water-mark “J. Whatman/ 1914”. Whatman, of course, being the paper used for Audubon’s Birds of America.

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W denotes the lot is illustrated at www.nealauction.com 21

John James Audubon (born in Les Cayes, Santo Domingo 26

April 1785; died at “Minnie’s Land” near New York, 27

January 1851) finally decided to commit himself exclusively to

his famous bird drawings - aiming for a complete pictorial

survey of all the birds of North America, drawn at life size -

on 12 October 1820, when he

departed from Cincinnati via a

flatboat down the Ohio and

Mississippi Rivers; he eventually (two

and a half months later) arrived at

New Orleans in the first week of

January 1821. He took with him a

former student from his classes in

drawing and painting at The Western

Museum, one Joseph R. Mason (born

in Camden, Delaware, probably on 29

November 1802; died at Cincinnati, 8

October 1842), who as Audubon

commented on the first page of his

Journal was “about 18.” Mason

stayed constantly with Audubon until

23 July 1822, when (then aged 19

1/2) he left Audubon in Natchez, and

made his way back north. Mason

provided the crucial elements not only

of the botanical habitats for almost a

quarter of the Birds (probably on

almost a hundred of the eventually

published plates), but even more

importantly perhaps the basic design and layout of most of

those sheets. This is a possibility which has never been

acknowledged in the voluminous literature on Audubon, and

is the subject of a new article by Douglas Lewis for

forthcoming publication, examining the relationship between

Audubon and Mason.

Joseph Mason was a crack shot, and in fact killed very many

of the birds eventually portrayed in the nearly 100 drawings

he made with Audubon. He was very big for his age, and was

accustomed to rowing Audubon all day long, on many

occasions, in the small boat they brought along with them.

When they left Oakley Plantation in Feliciana Parish (where

they spent the summer and early fall of 1821, between June

18th and October 20th), the mistress of the plantation,

Lucretia Alston Gray Pirrie (1794-1855) offered Mason a “full

suit of fine Clothes” that had belonged to her deceased son,

Ruffin Gray (c. 1795-12 October 1817) - thus demonstrating

that even a month shy of his 19th birthday, Mason could

easily fill the suit of a 22-year-old planter.

The large group of first-edition plates from the Birds of

America offered here includes a substantial number of shore

birds (on which Mason did not collaborate), but also a certain

number from the period of his partnership with Audubon,

beginning with two works from the original flatboat trip to

New Orleans. These are the originals

for Robert Havell’s plates 145, the

“Palm Warbler on Sneezeweed”

(Yellow Red-poll Warbler) drawn at

Bayou Lafourche on 1-3 January 1821,

and also one of the prototypes for

Havell’s plate 187 (Bien # 220), the

“Boat-Tailed Grackle on Live Oak”

drawn at Bonnet Carré on January

4th. Audubon records in his Journal

that he himself picked the

sneezeweed that he found “in full

bloom - Near the Boat,” and that

Mason had in fact shot the warbler on

January 2nd; a few days later he sent

Mason and a companion to the west

bank opposite New Orleans for the

live oak on which to pose the grackle.

The “Yellow-Shafted Flicker” [called

by Havell a ‘Golden-Winged

Woodpecker,’ plate 37 (Bien #273)]

and the “Red-Headed Woodpecker”

(plate 27) were probably both drawn

at Oakley in 1821, on dead trees

doubtless by Mason. Two plates whose original drawings are

firmly documented to the pair’s sojourn in Natchez - from 24

March to 23 July 1822 - are the “Towhee Bunting on

Blackberry” (drawn April 13th, plate 29) and the “Dickcissel

on ‘Butter-and-Eggs’ and Reeds” [‘Black-Throated Bunting,’

April 20th, plate 384). Others of Havell’s eventual prints for

Birds of America probably also attest to this collaboration

between the young Mason and Audubon (who at this point

was exactly twice his age), before Mason returned to

Philadelphia and Cincinnati to take up his Audubon-inspired

work as a portrait painter. The many masterpieces that they

created together are a tribute to the artistic, ornithological,

and especially the botanical milieus of New Orleans, the

Felicianas, and the Natchez District.

References: The Original Water-Color Paintings by John James Audubon for “The Birds of America,” introduction by Marshall B. Davidson, commentaries by Edward H. Dwight, New York, American Heritage, 1966. John James Audubon: Writings and Drawings, Christopher Irmscher, ed., New York, The Library of America, 1999. Douglas Lewis, “Joseph R. Mason, The First Artistic Collaborator of John James Audubon,” 2011, forthcoming.

Audubon in Louisiana and Mississippi

Black-Throated Bunting, lot 137

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*81. John James Audubon (American, 1785-1851), “Brown Titlark”, Plate 10, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/2 in. x 38 1/4 in.

$1000/1500

*82. John James Audubon (American, 1785-1851), “Red headed Woodpecker”, Plate 27, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 38 in. x 26 in., attractively float-mounted and framed.

$7000/10000

*83. John James Audubon (American, 1785-1851), “Towee Bunting”, Plate 29, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1827” watermark, sheet 38 1/4 in. x 25 1/4 in., attractively float-mounted and framed.

$2000/3000

81

82

83


*84. John James Audubon (American, 1785-1851), “Chestnut Sided Warbler”, Plate 59, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1828” watermark, sheet 38 in. x 25 in., attractively float-mounted and framed.

$5000/7000

*85. John James Audubon (American, 1785-1851), “Prairie Titlark”, Plate 80, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1833” watermark, sheet 25 1/2 in. x 38 3/4 in.

$3000/5000

*86. John James Audubon (American, 1785-1851), “House Wren”, Plate 83, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1830” watermark, sheet 38 1/4 in. x 26 1/2 in., attractively float-mounted and framed.

$12000/15000

84

86

85

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*87. John James Audubon (American, 1785-1851), “Black Warrior”, Plate 86, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1830” watermark, sheet 38 1/4 in. x 26 in., attractively float-mounted and framed.

$10000/15000

*88. John James Audubon (American, 1785-1851), “Cowpen Bird”, Plate 99, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/2 in. x 38 1/2 in.

$3000/5000

*89. John James Audubon (American, 1785-1851), “Black Vulture or Carrion Crow”, Plate 106, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1830” watermark, sheet 26 1/4 in. x 39 1/4 in., attractively float-mounted and framed.

$6000/8000

*90. John James Audubon (American, 1785-1851), “Wood Pewee”, Plate 115, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 38 3/4 in. x 26 in.

$2000/4000

87

88

89

90


*91. John James Audubon (American, 1785-1851), “American Sparrow Hawk”, Plate 142, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 38 1/2 in. x 25 3/4 in., attractively float-mounted and framed.

$5000/7000

*92. John James Audubon (American, 1785-1851), “Small Green Crested Flycatcher”, Plate 144, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1832” watermark, sheet 38 1/2 in. x 26 1/2 in., attractively float-mounted and framed.

$2000/3000

*93. John James Audubon (American, 1785-1851), “Yellow Red Poll Warbler”, Plate 145, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1832” watermark, sheet 39 in. x 26 in.

$4000/6000

91

92

93

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*94. John James Audubon (American, 1785-1851), “Fish Crow”, Plate 146, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 37 1/2 in. x 25 1/4 in., attractively float-mounted and framed.

$5000/7000

*95. John James Audubon (American, 1785-1851), “Pine Swamp Warbler”, Plate 148, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 38 3/4 in. x 26 1/2 in., attractively float-mounted and framed.

$3000/5000

*96. John James Audubon (American, 1785-1851), “American Swift”, Plate 158, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1832” watermark, sheet 25 3/4 in. x 38 1/2 in.

$3000/5000

94

95

96


*97. John James Audubon (American, 1785-1851), “Zenaida Dove”, Plate 162, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 38 in. x 26 in., attractively float-mounted and framed.

$6000/9000

*98. John James Audubon (American, 1785-1851), “Mangrove Cuckoo”, Plate 169, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 39 in. x 26 1/4 in., attractively float-mounted and framed.

$3000/5000

*99. John James Audubon (American, 1785-1851), “Gray Tyrant”, Plate 170, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1833” watermark, sheet 38 3/4 in. x 25 3/4 in., attractively float-mounted and framed.

$3000/5000

97

98

99

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*102. John James Audubon (American, 1785-1851), “Shore Lark”, Plate 200, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1834” watermark, sheet 26 in. x 38 1/4 in.

$2000/4000

*103. John James Audubon (American, 1785-1851), “Booby Gannet”, Plate 207, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 38 in. x 25 3/4 in., attractively float-mounted and framed.

$15000/18000*100. John James Audubon (American, 1785-1851), “Pine Finch”, Plate 180, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 38 1/4 in. x 25 1/2 in., attractively float-mounted and framed.

$3000/5000

*101. John James Audubon (American, 1785-1851), “Snow Bunting”, Plate 189, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1834” watermark, sheet 38 1/2 in. x 26 in., attractively float-mounted and framed.

$3000/5000

100

101

102

103


*104. John James Audubon (American, 1785-1851), “Esquimaux Curlew”, Plate 208, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1834” watermark, sheet 26 in. x 38 1/2 in.

$4000/6000

*105. John James Audubon (American, 1785-1851), “Hyperborean Phalarope”, Plate 215, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1834” watermark, sheet 26 in. x 38 1/2 in.

$5000/7000

*106. John James Audubon (American, 1785-1851), “Sanderling”, Plate 230, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1838” watermark, sheet 26 in. x 38 1/2 in.

$4000/6000

*107. John James Audubon (American, 1785-1851), “Hooded Merganser”, Plate 232, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 26 1/2 in. x 38 1/2 in., attractively float-mounted and framed.

$10000/15000

104 105

106

107

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*109. John James Audubon (American, 1785-1851), “Black Backed Gull”, Plate 241, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 36 3/4 in. x 25 in., attractively float-mounted and framed.

$3000/5000

*110. John James Audubon (American, 1785-1851), “Uria Brunnichii”, Plate 245, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 25 3/4 in. x 38 in.

$3000/5000

*108. John James Audubon (American, 1785-1851), “Tufted Duck”, Plate 234, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1834” watermark, sheet 25 3/4 in. x 38 1/2 in., attractively float-mounted and framed.

$8000/12000

108

109

110


*111. John James Audubon (American, 1785-1851), “Eider Duck”, Plate 246, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 25 1/2 in. x 38 in., attractively float-mounted and framed.

$35000/45000

*112. John James Audubon (American, 1785-1851), “Jager”, Plate 253, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill” watermark, sheet 25 3/4 in. x 38 ½ in., attractively float-mounted and framed.

$6000/8000

*113. John James Audubon (American, 1785-1851), “Red Phalarope”, Plate 255, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1834” watermark, sheet 26 in. x 38 1/2 in., attractively float-mounted and framed.

$8000/10000

111

112 113

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*114. John James Audubon (American, 1785-1851), “Hudsonian Godwit”, Plate 258, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 26 1/2 in. x 38 1/2 in., attractively float-mounted and framed.

$6000/8000

*115. John James Audubon (American, 1785-1851), “Pigmy Curlew”, Plate 263, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 26 in. x 38 1/2 in., attractively float-mounted and framed.

$3000/6000

*116. John James Audubon (American, 1785-1851), “Buff Breasted Sandpiper”, Plate 265, hand-colored engraving with

aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 26 in. x 38 3/4 in., attractively float-mounted and framed.

$4000/6000

*117. John James Audubon (American, 1785-1851), “Common Cormorant”, Plate 266, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 25 1/2 in. x 37 3/4 in., attractively float-mounted and framed.

$10000/12000

114115

116

117


118

119 121

120

*118. John James Audubon (American, 1785-1851), “Richardson’s Jager”, Plate 272, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 26 3/4 in. x 39 1/2 in., attractively float-mounted and framed.

$7000/9000

*119. John James Audubon (American, 1785-1851), “Semipalmated Snipe”, Plate 274, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 26 in. x 38 1/2 in., attractively float-mounted and framed.

$6000/8000

*120. John James Audubon (American, 1785-1851), “King Duck”, Plate 276, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 in. x 37 3/4 in., attractively float-mounted and framed.

$10000/15000

*121. John James Audubon (American, 1785-1851), “Schinz’s Sandpiper”, Plate 278, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 25 3/4 in. x 38 1/2 in.

$6000/8000

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*122. John James Audubon (American, 1785-1851), “White-winged Silvery Gull”, Plate 282, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 26 in. x 38 1/4 in., attractively float-mounted and framed.

$7000/9000

*123. John James Audubon (American, 1785-1851), “Wandering Shearwater”, Plate 283, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 26 in. x 38 1/2 in., attractively float-mounted and framed.

$6000/8000

*124. John James Audubon (American, 1785-1851), “Harlequin Duck”, Plate 297, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 24 in. x 36 1/2 in., attractively float-mounted and framed.

$6000/9000

*125. John James Audubon (American, 1785-1851), “Golden Plover”, Plate 300, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 3/4 in. x 38 1/2 in.

$4000/6000

122

124

123 125


*126. John James Audubon (American, 1785-1851), “Bartram Sandpiper”, Plate 303, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/4 in. x 34 3/4 in.

$6000/8000

*127. John James Audubon (American, 1785-1851), “Least Stormy Petrel”, Plate 311, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 26 in. x 38 1/2 in.

$2000/4000

*128. John James Audubon (American, 1785-1851), “Black or Surf Duck”, Plate 317, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 26 in. x 38 1/2 in., attractively float-mounted and framed.

$7000/10000

*129. John James Audubon (American, 1785-1851), “Black Bellied Plover”, Plate 334, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/8 in. x 38 in.

$6000/8000

126 127

128

129

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*130. John James Audubon (American, 1785-1851), “Long-legged Sandpiper”, Plate 344, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/2 in. x 38 in., attractively float-mounted and framed.

$6000/8000

*131. John James Audubon (American, 1785-1851), “Rocky Mountain Plover”, Plate 350, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 in. x 38 in., attractively float-mounted and framed.

$2000/4000

*132. John James Audubon (American, 1785-1851), “American Magpie”, Plate 357, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1837” watermark, sheet 38 1/2 in. x 26 3/4 in., attractively float-mounted and framed.

$15000/18000

130 131

132


*133. John James Audubon (American, 1785-1851), “Lapland Long Spur”, Plate 365, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1837” watermark, sheet 25 1/2 in. x 38 1/4 in., attractively float-mounted and framed.

$2000/4000

*134. John James Audubon (American, 1785-1851), “Trumpeter Swan, Young”, Plate 376, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1837” watermark, sheet 26 in. x 38 1/4 in., attractively float-mounted and framed.

$60000/80000

*135. John James Audubon (American, 1785-1851), “Scolopaceus Curlan”, Plate 377, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 25 3/4 in. x 38 1/4 in., attractively float-mounted and framed.

$6000/8000

133 135

134

38

*139. John James Audubon (American, 1785-1851), “Chestnut Colored Finch, Black-headed Siskin, Black crown Bunting, Arctic Ground Finch”, Plate 394, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1837” watermark, sheet 38 1/4 in. x 26 in., attractively float-mounted and framed.

$1500/2500

*136. John James Audubon (American, 1785-1851), “Sharp-tailed Grous”, Plate 382, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1838” watermark, sheet 25 1/2 in. x 38 1/2 in., attractively float-mounted and framed.

$15000/18000

*137. John James Audubon (American, 1785-1851), “Black Throated Bunting”, Plate 384, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1838” watermark, sheet 38 in. x 25 1/4 in., attractively float-mounted and framed.

$2000/4000

*138. John James Audubon (American, 1785-1851), “Bank Swallow, Violet-green Swallow”, Plate 385, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1837” watermark, sheet 39 1/4 in. x 26 in., attractively float-mounted and framed.

$4000/6000

136

138

137

139


*140. John James Audubon (American, 1785-1851), “Black-Throated Green Warbler, Blackburnian W[arbler], Mourning Warbler”, Plate 399, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1837” watermark, sheet 38 1/2 in. x 26 in., attractively float-mounted and framed.

$3000/5000

*141. John James Audubon (American, 1785-1851), “Red-breasted Merganser”, Plate 401, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 25 1/2 in. x 38 1/2 in., attractively float-mounted and framed.

$20000/30000

*142. John James Audubon (American, 1785-1851), “Havell’s Tern”, Plate 409, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 26 1/2 in. x 38 1/2 in., attractively float-mounted and framed.

$9000/12000

140

141

142

40

*143. John James Audubon (American, 1785-1851), “Common American Swan”, Plate 411, hand-colored engraving with aquatint from Birds of America, Havell edition, sheet 25 3/4 in. x 38 1/2 in., attractively float-mounted and framed.

$90000/120000

*144. John James Audubon (American, 1785-1851), “Prairie Starling”, Plate 420, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1838” watermark, sheet 38 1/2 in. x 26 in., attractively float-mounted and framed.

$4000/6000

143

144


*145. John James Audubon (American, 1785-1851), “Slender-billed Guillemot”, Plate 430, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/2 in. x 38 1/2 in., attractively float-mounted and framed.

$3000/5000

*146. John James Audubon (American, 1785-1851), “Columbian Water Ouzel, Arctic Water Ouzel”, Plate 435, hand-colored engraving with aquatint from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 38 1/2 in. x 25 3/4 in.

$3000/5000

*147. John James Audubon (American, 1785-1851), “Red Tailed Hawk”, Plate 7, chromolithograph from Birds of America, Bien edition, sheet 39 1/4 in. x 26 1/2 in.

$2000/3000

146

147

145

42

*148. John James Audubon (American, 1785-1851), “Pigeon Hawk”, Plate 21, chromolithograph from Birds of America, Bien edition, sheet 25 3/4 in. x 38 1/2 in., attractively float-mounted and framed.

$2000/3000

*149. John James Audubon (American, 1785-1851), “Boat Tailed Grackle”, Plate 220, chromolithograph from Birds of America, Bien edition, sheet 38 1/2 in. x 25 1/2 in., attractively float-mounted and framed.

$2000/3000

*150. John James Audubon (American, 1785-1851), “Fish Crow”, Plate 226, chromolithograph from Birds of America, Bien edition, sheet 39 in. x 26 in.

$2000/3000

148

149

150


*151. John James Audubon (American, 1785-1851), “Golden Winged Woodpecker”, Plate 273, chromolithograph from Birds of America, Bien edition, sheet 36 in. x 26 1/2 in.

$2000/3000

*152. John James Audubon (American, 1785-1851), “Great White Heron”, Plate 368, chromolithograph from Birds of America, Bien edition, sheet 25 1/2 in. x 39 in., attractively float-mounted and framed.

$2000/3000

*153. John James Audubon (American, 1785-1851), “Red Headed Duck”, Plate 396, chromolithograph from Birds of America, Bien edition, sheet 27 in. x 39 3/4 in., attractively float-mounted and framed.

$2000/3000

151

152

153

44

*154. John James Audubon (American, 1785-1851), The Viviparous Quadrupeds of North America, 1839-1844, Imperial Folio (27 in. x 21 in.), 3 volumes, Philadelphia, with 150 hand-colored lithographed plates by J.J. Audubon and J.W. Audubon, backgrounds after Victor Audubon, lithography by J.T. Bowen, Volume 1 bound in publisher’s brown half morocco over brown ribbed cloth, Volumes II and III bound in publisher’s half black morocco over purple ribbed cloth, yellow-coated endpapers, gilt-lettered spines.

$1200000/1600000

Provenance: Each volume with the engraved armorial bookplate of Edward Sands Litchfield (1891-1984) on the front paste-down.

Note: Called “The largest successful color plate book project of 19th-century America” (Reese), Audubon’s enthusiasm at the start of the project was unbridled. Around 1840 he wrote to his collaborator, the Rev. James Bachman, “I am

growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed! Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman” (Streshinsky, Audubon, p. 331). The artist managed to complete seventy-seven drawings before failing health kept him from his work. The remainder were completed by his younger son, John Woodhouse Audubon. The dauntingly massive enterprise was a commercial success, owing chiefly to Audubon’s elder son Victor’s careful management. Before Audubon’s death in 1851, his sons succeeded in soliciting some three hundred subscriptions for the work. A bright and brilliantly colored set of Audubon’s magnificent final work, The Viviparous Quadrupeds...References: Litchfield 28; McGill/Wood 208; Nissen ZBI 162; Reese American Color Plate Books 36; Sabin 2367

154


*155. John James Audubon (American, 1785-1851), “Little Chief Hare” and “Red-Bellied Squirrel”, Plates 83 and 38, hand-colored, two large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$5000/7000

*156. John James Audubon (American, 1785-1851), “Northern Hare”, Plate 12, hand-colored, large folio lithograph, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheet 21 in. x 27 1 /4 in.

$4000/6000

*157. John James Audubon (American, 1785-1851), “Lewis’ Marmot” and “Nuttall’s Hare”, Plates 107 and 94, hand-colored, two large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$7000/9000

*158. John James Audubon (American, 1785-1851), “Sea Otter”, Plate 137, hand-colored, large folio lithograph, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheet 21 3/4 in. x 28 in.

$8000/12000

155 (1 of 2)

156

157 (1 of 2)

158

46

*159. John James Audubon (American, 1785-1851), “Bachman’s Hare” and “Black-Tailed Deer”, Plates 108 and 78, hand-colored, two large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$7000/9000

Note: The background of the Black-tailed Deer, Plate 78, shows John James Audubon holding his hunting rifle, drawn by one of his sons.

*160. John James Audubon (American, 1785-1851), “Swamp Hare”, Plate 37, hand-colored, large folio lithograph, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheet 21 1/2 in. x 27 1/4 in.

$3000/5000

*161. John James Audubon (American, 1785-1851), “Downy Squirrel” and “Migratory Squirrel”, Plates 25 and 35, hand-colored, two large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$6000/9000

*162. John James Audubon (American, 1785-1851), “White Weasel” and “Columbia Pouched Rat”, Plates 59 and 105, hand-colored, two large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$2000/4000

159 (1 of 2)

161 (1 of 2)

162 (1 of 2)

160


*163. John James Audubon (American, 1785-1851), “Black American Wolf”, Plate 67, hand-colored, large folio lithograph, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheet 21 in. x 27 1/4 in.

$8000/12000

*164. John James Audubon (American, 1785-1851), “Camas Rat” and “Canada Pouched Rat”, Plates 142 and 44, hand-colored, two large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$2000/4000

*165. John James Audubon (American, 1785-1851), “Esquimaux Dog”, Plate 113, hand-colored, large folio lithograph, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheet 22 in. x 28 in.

$6000/8000

*166. John James Audubon (American, 1785-1851), “California Marmot Squirrel”, “Northern Meadow Mouse” and “Richardson’s Meadow Mouse”, Plates 109, 124 and 135, three hand-colored, large folio lithographs, by J.T. Bowen, from The Viviparous Quadrupeds of North America, 1839-1844, sheets 21 1/2 in. x 27 1/2 in.

$5000/7000

164 (1 of 2) 166 (1 of 3)

163

165

48

*167. John Gould (English, 1804-1881), A Monograph of the Trochilidae, or Family of Hummingbirds, 6 volumes including supplement, folio (21 in. x 14 in.), published by the author, London, 1849-1861, posthumous supplement prepared by R. Bowdler Sharpe published 1881-1887, total of 418 hand-colored lithographs, full leather with gilt tooling.

$350000/450000

Note: Hummingbirds were Gould’s favorite birds in all the world. He had a personal collection of over five thousand specimens and, for the Great Exhibition, created a

building displaying three hundred mounted specimens. Among the 80,000 visitors was Queen Victoria. One of Gould’s techniques of using transparent colors over gold leaf, made the birds come alive on the page with brilliant iridescence.

*168. John Gould (English, 1804-1884), “Bourcier’s Hermit”, “Amaura Hermit”, “Circe” and “Blue Crest”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, London, 1849-1861, sheets 21 1/4 in. x 15 in., attractively float mounted and framed.

$6000/9000

167

167 (detail)

168 (1 of 4)


*169. John Gould (English, 1804-1884), “Blue-chinned Sapphire”, “Chestnut-bellied Adelomyia”, “Fawn-breasted Amazili” and “Gilt Crest”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, London, 1849-1861, sheets 21 1/4 in. x 15 in., attractively float mounted and framed.

$6000/9000

*170. John Gould (English, 1804-1884), “Middle-sized Hermit”, “Mexican Hermit”, “Grey-throated Hermit” and “Guy’s Hermit”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, London, 1849-1861, sheets 21 1/4 in. x 15 in., attractively float mounted and framed.

$6000/9000

*171. John Gould (English, 1804-1884), “Brazilian Wood Nymph”, “Blue-fronted Lance-Bill”, “Chest-bellied Amazili” and “Snowy-throated Emerald”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, London, 1849-1861, sheets 21 1/4 in. x 15 in., attractively float mounted and framed.

$6000/9000

*172. John Gould (English, 1804-1884), “De Laland’s Plover-Crest”, “Green-fronted Lance-Bill”, “Adolph’s Hermit” and “Mauge’s Hummingbird”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, London, 1849-1861, sheets 21 1/4 in. x 15 in., attractively float mounted and framed.

$6000/9000

169 (1 of 4) 171 (1 of 4)

172 (1 of 4)170 (1 of 4)

50

*173. John Gould (English, 1804-1881), Birds of Great Britain, published by the author, London, 1862-1873, 5 volumes, folio, (21 1/2 in. x 14 3/4 in.), three-quarter leather with gilt tooling, with 367 hand-colored lithographs, heightened with gum arabic.

$150000/180000

*174. John Gould (English, 1804-1881), Birds of Europe, published by the author, London, 1832-1837, 5 volumes, folio, (21 in. x 14 in.), with 448 hand-colored lithographs, heightened with gum arabic, three-quarter leather with gilt tooling.

$150000/180000

Provenance: Front pastedowns bearing the bookplates of Henry Richard Cox and Sacchitti.

173

173 (detail)

174


*175. Daniel Giraud Elliot (1835-1915), “The Caracal” and “The Snow Leopard”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

Note: From the preface: “...the Felidae possess the highest degree of beauty, both in form and colouring, most gratifying to the eye, and are also endowed with physical strength and weapons of offence not surpassed, and only partially equaled. The Family comprises not only the largest and most ferocious of the beasts of prey, but also the graceful little animal that delights to make its home within man’s abode.”

*176. Daniel Giraud Elliot (1835-1915), “The Painted Cat” and “The Carcal”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

*177. Daniel Giraud Elliot (1835-1915), “The Margay” and “Felis Marmorata”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

*178. Daniel Giraud Elliot (1835-1915), “The Little Red-Spotted Cat” and “The Lynx”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

175 (1 of 2) 176 (1 of 2)

177 (1 of 2) 178 (1 of 2)

52

*179. Daniel Giraud Elliot (1835-1915), “The Bushy-Tailed Red-Spotted Cat” and “The European Wild Cat”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 1 1/2 in.

$3000/5000

*180. Daniel Giraud Elliot (1835-1915), “The Rubiginous Cat” and “The Fishing Cat”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

*181. Daniel Giraud Elliot (1835-1915), “The Caffer Cat” and “The Yaguarundi”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

*182. Daniel Giraud Elliot (1835-1915), “The Little Red-Spotted Cat” and “The Fishing Cat”, two hand-colored lithographs, folio, 1883, London, from A Monograph of the Felidae or Family of Cats after Joseph Wolf, by J. Smit, printed by Hanhart, sheet 24 1/2 in. x 19 1/2 in.

$3000/5000

179 (1 of 2) 180 (1 of 2)

182 (1 of 2)181 (1 of 2)


*183. Crispijn van de Passe (Dutch, 1597-1670), a group of four copper-plate engravings with original hand coloring from Hortus Floridus, Amsterdam, 1614-15, sheets 7 1/2 in. x 11 3/4 in., attractively float mounted and framed.

$6000/9000

Note: Much like his contemporary Basil Besler, the work of Crispijn van de Passe had a lasting influence on 17th century gardening. The beautiful small format plates depict spring blooms of flowers found throughout Northern European gardens.

*184. Crispijn van de Passe (Dutch, 1597-1670), a group of four copper-plate engravings with original hand coloring from Hortus Floridus, Amsterdam, 1614-15, sheets 7 1/2 in. x 11 3/4 in., attractively float mounted and framed.

$6000/9000

*185. Crispijn van de Passe (Dutch, 1597-1670), a group of two copper-plate engravings with original hand coloring from Hortus Floridus, Amsterdam, 1614-15, sheets 7 1/2 in. x 11 3/4 in., attractively float mounted and framed.

$3000/5000

*186. Dr. Robert John Thornton (English, 1768-1837), “White Lily”, hand-colored engraved aquatint with mezzotint, from Temple of Flora, or Garden of Nature, after Henderson, Reinagle and others, 1799-1812, London, sight 21 in. x 16 1/4 in., attractively matted and framed.

$6000/9000

183 (1 of 4)

185 (1 of 2)

184 (1 of 4)

186

54

*187. George Wilkins Kendall (1809-1867) and Carl Nebel (1805-1855), The War between the United States and Mexico illustrated, embracing pictorial drawings of all principal conflicts..., 1851, Appleton & Co., New York and Phil., folio (22 in. x 16 1/2 in.), first edition, cloth binding, printed paper label, with 12 hand-colored lithographs, heightened with gum arabic, by Bayot after Nebel, one map titled “Map of the Operations of the American Army in the Valley of Mexico in August and September 1847”.

$45000/60000

Note: Kendall was in Texas as a reporter when he heard the news of the Mexican War. As a war correspondent with Zachary Taylor and Winfield Scott, he captured a cavalry flag, was wounded in the knee and earned widespread praise for devising methods for swift transmission of his war dispatches to the Picayune. He fitted a steamer as a press ship and took the news to New Orleans where the Picayune rushed it to press. From there it was dispatched by horseback to other newspapers in the country. Nebel, originally from Germany, traveled to America and lived in Mexico from 1829 until 1834. His plates for this folio are considered the very best American battle scenes made.

*188. Dr. Robert John Thornton (English, 1768-1837), “Persian Cyclamen”, hand-colored engraved aquatint with mezzotint, from Temple of Flora, or Garden of Nature, after Henderson, Reinagle and others, 1799-1812, London, sight 21 in. x 16 1/4 in., attractively matted and framed.

$6000/8000

*189. Dr. Robert John Thornton (English, 1768-1837), “Quadrangular Passion Flower”, hand-colored engraved aquatint with mezzotint, from Temple of Flora, or Garden of Nature, after Henderson, Reinagle and others, 1799-1812, London, sight 21 in. x 16 1/4 in., attractively matted and framed.

$6000/8000

187

188

189


*190. Dr. Robert John Thornton (English, 1768-1837), “Hyacinths”, hand-colored engraved aquatint with mezzotint, from Temple of Flora, or Garden of Nature, after Henderson, Reinagle and others, 1799-1812, London, sight 21 in. x 16 1/4 in., attractively matted and framed.

$6000/8000

*191. Dr. Robert John Thornton (English, 1768-1837), “The Snowdrop”, hand-colored engraved aquatint with mezzotint, from Temple of Flora, or Garden of Nature, after Henderson, Reinagle and others, 1799-1812, London, sight 21 in. x 16 1/4 in., attractively matted and framed.

$6000/8000

*192. Dr. Robert John Thornton (English, 1768-1837), “Blue Passion Flower”, hand-colored engraved aquatint with mezzotint, from Temple of Flora, or Garden of Nature, after Henderson, Reinagle and others, 1799-1812, London, sight 21 in. x 16 1/4 in., attractively matted and framed.

$6000/8000

*193. Joseph Frederick Wallet des Barres (English, 1722-1824), “Mississippi River from Iberville to Yazous”, 1779, two sheet, copperplate engraving, with original wash color, from The Atlantic Neptune, sheet 64 1/2 in. x 25 in., attractively float-mounted and framed.

$18000/22000

Note: Des Barre’s chart of the Mississippi is one of the finest detailed maps of the region produced in the 18th century. It presents the intricate curving of the river showing place names like Natches Cliff, Batton Rouge, The French Settlements of Point Coupee, Lake Maurepas and many others. Very rare, the chart was often omitted from editions of The Atlantic Neptune.

190

191

192

193

56

*194. James T. Lloyd/ Publisher, “Lloyd’s Map of the Lower Mississippi River from St. Louis to the Gulf of Mexico. Compiled from Government surveys in the Topographical Bureau, Washington, D.C. Revised and corrected to the present time by Captains Bart and William Bowen, pilots of twenty years’ experience on that River. Exhibiting the sugar and cotton plantations, cities, towns, landings, sand bars, islands, bluffs, bayous, cut-offs, the steamboat channel, mileage, fortifications, railroads &c. along the River”, published by J. T.

Lloyd, 1862, New York, lithograph, sheet size 39 1/4 in. x 54 in., attractively float-mounted and framed.

$30000/40000

*195. Guillaume De Lisle (French, 1675-1726), “Carte de la Louisiane et Cours du Mississipi”, Paris, 1718, second state, double-page copperplate engraving, in outline color, sheet 20 1/4 in. x 27 1/4 in., attractively float-mounted and framed.

$20000/40000

Note: This was the first map to accurately describe the vast Mississippi Valley and, as such, was widely copied and referred to for the next fifty years. As the first printed map to name Texas (Mission de los Tiejas, 1716) De Lisle has received proper credit for establishing Texas as a geographic place name. This map was also the first map to name the newly established town of Nouvelle Orleans.Reference: Charting Louisiana, p. 58; Cumming, p. 170; Schwartz and Ehrenberg, p. 146.

194

195


*196. Jacques Tanesse (New Orleans), “Plan of the City and Suburbs of New Orleans from an Actual Survey made in 1815 by J. Tanesse, City Surveyor”, 1825, engraving, drawn by Jacques Tanesse, engraved by William Rollinson, published by Charles del Vecchio, N.Y., and Pierre Maspero, New Orleans, sheet 20 1/2 in. x 31 in., attractively float-mounted and framed.

$15000/25000

Note: This detailed engraving far surpasses any other printed view or map of New Orleans. Made by the surveyor Jacques Tanesse, the plan is an aerial projection from a height distant enough to give a good idea of the city’s crescent shape. John Reps, Cornell University professor emeritus and cartographic scholar, calls Tanesse’s work “one of the finest examples of 19th-century American urban cartography.” By August 1817, the map was available in New Orleans when Tanesse presented two copies to the city, one for the mayor’s office, the other for the council chamber. The city’s various states of progress in the expansion are superbly charted in the plan’s neat grid layout, which is accentuated by large open places given over to public plazas and buildings. Tanesse also includes the breastworks that proved to be very decisive in America’s defeat of the British during the famous Battle of New Orleans in January of 1815. This interesting detail is shown perpendicular to the Mississippi River at the

lower right-hand corner of the city plan. Twelve symmetrically placed border insets show the city’s most important buildings, and all are drawn in elevation, with an occasional attempt at perspective. Although simply executed, they represent the French, Spanish, and American periods of New Orleans history. In the title cartouche, an exotic American Indian family of unknown tribe poses near a lion skin. Jacques Tanesse’s plan was issued in two states: the first in 1817 and the second edition in 1825. This example, from the 1825 issue, celebrates the visit of General Lafayette to New Orleans, where he makes notable changes that took place to the city in the intervening eight years. Tanesse engraves the sixty-foot triumphal arch which was built in wood and canvas and erected at the Place d’Armes for the occasion of the General’s arrival. This he sets at the bottom of the map on land across the river, which misleadingly suggests that it stood there. The arch was designed by city architect Joseph Pilié and painted to resemble marble by Jean Baptiste Fogliardi, the scene painter for the Théâtre d’Orléans. Another significant alteration is Tanesse’s addition of a tower to the cathedral. The original rectangular format was adapted with the clever device of a lunette breaking the top of the border to accommodate the height of the new spire.References: Lemmon, Magill and Wiese, Charting Louisiana, H.N.O.C., 2003, p. 320; J.W. Reps, Cities of the American West (Princeton, 1979) 21, fig. 1.17; G.G. Deak, Picturing America, 1497-1899 (Princeton, 1988) 292; J.J. Poesch (ed.), Printmaking in New Orleans (Jackson, 2006) 78-79, fig. 9.

196

58

*197. John Disturnell (1801-1877), “Mapa de los Estados Unidos de Mejico...”, 1847, hand-colored engraved folding map, on two sheets, joined as issued, published by J. Disturnell, NY, sheet 30 1/2 in. x 42 1/4 in., attractively float-mounted and framed, the mat inset with the original red boards.

$125000/150000

Note: Known as “The Treaty Map”, Disturnell’s map was one of the most influential maps of the region. It was the one that Nicolas Trist carried with him as Peace Commissioner to Mexico in 1847, to establish the border of Mexico and Texas for the Treaty of Guadalupe-Hildalgo.

197


*198. [Manuscript Map of Texas/Louisiana], “Plano de una parte de la Provincia de la Luisiana y de otra de la Florida Occidental y de la Provincia de Texas”, (“Map of a part of the Province of Louisiana and the other of West Florida and the Province of Texas”), c. 1804, ink and watercolor wash on paper, two sheets joined, paper watermarked “J. Whatman 1794” and with their fleur-de-lis, sheet 21 1/2 in. x 41 1/4 in., attractively float-mounted and framed.

$300000/450000

Note: This historically important manuscript map shows the origins of the state of Texas at the turn of the 19th century. The map asserts, in bold colors, the borders claimed by Spain between its provinces of Texas and West Florida, and the territories of the United States, including the province of Louisiana newly conveyed by Napoleon over Spanish objections. The valuable lands within what would become Texas are shown extending westward, highlighted by the principal river systems between the Sabine and San Antonio, probably drafted by a surveyor with the Casa-Calvo expedition of 1805, and possibly supervised by celebrated cartographer Nicholas de Finiels. The map focuses on an area of extreme Spanish interest when it was becoming impossible for that once great power to maintain its grip in North America in the face of increasing hegemony of the young United States. Complete essay by Dr. Charles A. Weeks available on line at www.nealauction.com.

198

198 (detail)

60

*199. Theodor de Bry (1528-1598), a group of six engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating various ports and chieftains, sheets approx. 7 in. x 8 in., attractively float-mounted and framed.

$4000/6000

Note: These are the earliest printed images of Florida and its native peoples. Based on Le Moyne’s sketches, De Bry’s engravings, completed in Frankfurt in 1591, convey a strong sense of the mystery and exoticism that characterized early European notions about the New World and its native “savages.” These images are still arresting and strange to the modern viewer, and one can only imagine the impact of these scenes in the 16th century.

*200. Theodor de Bry (1528-1598), a group of four engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating young men exercising, cooking and a granary, sheets approx. 7 in. x 8 in., attractively float-mounted and framed.

$4000/6000

*201. Theodor de Bry (1528-1598), a group of six engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating various views of chieftains and ceremonial pursuits, sheets approx. 7 in. x 8 in., attractively float-mounted and framed.

$4000/6000

*202. Theodor de Bry (1528-1598), a group of six engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating sacrifices, executions, a sorcerer and hermaphrodites, sheets approx. 7 in. x 8 in., attractively float-mounted and framed.

$4000/6000

199 (1 of 6) 201 (1 of 6)

202 (1 of 6)200 (1 of 4)


206. A Fine American Aesthetic Carved Cherrywood Revolving Pedestal, c. 1875, probably Philadelphia, bronze lion masque handles; the turned column featuring distinctively carved leaves and cattails, height 42 in., diameter 15 in.

$1200/1800

*203. Theodor de Bry (1528-1598), a group of six engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating a council meeting, farming, Port Royal and one of the first views of collecting gold, sheets approx. 11 in. x 8 in., attractively float-mounted and framed.

$4000/6000

*204. Theodor de Bry (1528-1598), a group of six engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating murder of a Frenchman, fortified village, widows, hermaphrodites and a tribal battle, sheets approx. 11 in. x 8 in., attractively float-mounted and framed.

$4000/6000

*205. Theodor de Bry (1528-1598), a group of four engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis..., Frankfurt, 1591, illustrating a fort, Port Royal, Fort Caroline and Charlesfort, sheets approx. 7 in. x 8 in., attractively float-mounted and framed.

$4000/6000

203 (1 of 6) 205 (1 of 4)

204 (1 of 6)

206

216

Auction Date: June 25 & 26, 2011

Neal Auction CompanyAuctioneers & Appraisers of Antiques & Fine Art4038 Magazine Street, New Orleans, Louisiana 70115504.899.5329 • Fax: 504.897.3808 • www.nealauction.com

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Neal Auction CompanyAuctioneers & Appraisers of Antiques & Fine Art4038 Magazine Street, New Orleans, Louisiana 70115504.899.5329 • Fax: 504.897.3808 • www.nealauction.com

Lot# Description Bid Amount $ or Telephone No.

1. Telephone bidding will be taken at the discretion of Neal Auction Company. Each item must have a low estimate of $500 or more. Absentee bids are gladly accepted for all items below $500.

2. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Friday prior to the auction.3. In the event identical bids are submitted, the earliest bid received will take precedence. 4. A 25% deposit must accompany all bids. A credit card number is required for securing your bids.5. Auction addendum available prior to the auction on the website or via facsimile.6. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in

writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.7. In the event of discrepancies, lot number and not lot description will take precedence.

First Last Name: _________________________ Name: ____________________________________ Company: __________________________

Address: ______________________________________________________________________________________________________

City: _____________________________________________ Prov/State _______________________ Postal Code ________________

Home Ph.: (_____)___________________ Work Ph.: (_____)______________________ Fax: (_____)_____________________

Dealer Resale# ________________________________ State __________ Email: __________________________________________________Dealers must provide Neal Auction Company with proper documentation prior to bidding.

MUST PROVIDE: Visa/MC/Discover/Amex_______________________________________ Exp: _______

Credit Card V-code:________ IF SUCCESSFUL, please bill my card.

☎ Number To Call For Phone Bid: (1) (____)__________________________ (2) (____)__________________________

MUST PROVIDE:

PaymentMethod:

Credit Card

CashCheckWire

11/06M

Please Review Guidelines FoR absentee & telePhone biddinG:

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11/06M

Name: ________________________________________________________________________

#Neal Auction CompanyAuctioneers & Appraisers of Antiques & Fine Art4038 Magazine Street, New Orleans, Louisiana 70115504.899.5329 • Fax: 504.897.3808 • www.nealauction.com

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For Internal Use Only:

Approved _______________________ Registered________________Entered ______________________

Clerks Initial ____________________ Account # _____________ Confirmed ______________________

Fax Form on or before Friday, 6/24/11 to 504-617-6431 or 504-617-9990

Lot# Description Bid Amount $ or Telephone

I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients and is not responsible for inadvertent fail-ure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer, the buyer’s premium shall be discounted 2.5% of this 22%. No exceptions.

✍ Signature Required Date

W denotes the lot is illustrated at www.nealauction.com 219 219

CONDITIONS OF SALEPlacing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale.

1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this cata-logue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED.

Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auc-tion Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpe-cuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer.

Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discre-tion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met:

A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.”

B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within a reasonable time from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.

C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written docu-ment signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.

D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the origi-nal buyer, and any rights of the original buyer are not transferrable or assignable.

E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate.

F. In any dispute between Neal Auction Company and buyer regard-ing authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief.

2. The auctioneer shall have absolute discretion in determining the suc-cessful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full pur-chase price for the said lot.

3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same.

4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item.

5. No merchandise will be released before the end of the auction.6. If the buyer fails to comply with any of the conditions of sale, Neal

Auction Company reserves the right to hold such defaulting buyer li-able for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the origi-nal defaulting buyer shall be liable for the payment of any defi-ciency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder.

ABSENTEE/TELEPHONE BIDS1. All absentee bids and/or telephone bids must be in our gallery by

5 P.M. CST the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Tele-

phone bidding will be taken at the discretion of the Neal Auction Company. Each item must have a minimum low estimate of $500.

3. We assume no responsibility for failure to execute bids for any reason whatsoever.

4. We reserve the right to require that advance bids be accompanied by a 25% deposit.

PAYMENT1. The successful bidder agrees to pay a buyer’s premium in the amount

of 22% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 2.5% of this 22%.

2. Unless exempt by law, the purchaser will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.

3. Documentation of tax exemption must be provided upon registra-tion.

4. Payment in full must be made by the successful bidder within ten days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid.

5. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer.

LIVE INTERNET BIDDINGLive internet bidding is available through Live Auctioneers at a buyer’s premium in the amount of 23% of the hammer price. See www.liveauctioneers.com

TERMSAny customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company. Neal Auction Company requests that the mer-chandise be held on premises until the check clears or money can be wired into the Neal Auction Company account.

SHIPPINGWe will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased lots by us is at the risk of the purchaser. Final shipping arrangements and agreements are strictly between the buyer and the shipper.

STORAGEWe will be glad to store certain items purchased at auction until trans-portation is arranged. Unless other arrangements are made and con-firmed in writing, all items must be removed within one week of the auction. On the first business day following that time period, merchan-dise remaining in the gallery will be turned over to a storage facility. The owner will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $15 per month. For a list of our storage charges by item category, please ask our customer service personnel at the front desk area. All items han-dled or stored will be at the purchaser’s risk. Storage charges are billed monthly and must be paid before merchandise is released. We are not li-able for any damage to merchandise after the sale.

Arader Galleries Important Auction June 25th & 26th, Neal Auctin

Documents

Transcript of Arader Galleries Important Auction June 25th & 26th, Neal Auctin