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Books > Americana & Canadiana (321 items)
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 BARNARD, George N. (1819-1902)
Archive of 14 mounted albumen photographs by or attributed to the great Civil War photographer, including 3 images not published in his Photographic Views of Sherman's Campaign
[1864-1866]. 14 mounted albumen photographs, each approximately 10 3/4 x 14 1/4 inches, on non-uniform card mounts, approximately 16 3/4 x 21 3/4 inches (3 with printed captions, 10 with manuscript captions in pencil, 1 uncaptioned). (Soiling and dampstaining, principally to the mounts; some fading to the images).
Unique collection of large albumen photographs by George Barnard.
Comprised of:
1) Tennessee River from Lookout Mountain [printed caption]. For a similar image, see the left third of Barnard's Panoramic View from the top of Lookout Mountain (reproduced in Davis, figure 54).
2) Gorge, Lookout Mountain [printed caption]. For similar image, see Library of Congress, Lot 4172-E, ascribed to Mathew Brady or his field staff.
3) View of Kenesaw [i.e. Kennesaw] Battlefield [manuscript caption]. Variant of Barnard's Photographic Views of Sherman's Campaign (hereafter PVSC) #32. See Library of Congress, Documentary Photographs of the Civil War, lot 4167, no. 25, ascribed to Brady or Barnard.
4) The Capitol Nashville (Tenn.) [manuscript caption]. PVSC #2.
5) Nashville from the Capitol [printed capton]. PVSC #3.
6) Whiteside Valley below the bridge [manuscript caption]. PVSC #5.
7) [Pass in the Raccoon Range, Whiteside No. 1]. PVSC #6
8) Orchard Knobb from Mission Ridge [manuscript caption]. PVSC #10.
9) Chattangooga Valley from Lookout Mountain No. 2 [manuscript caption]. PVSC #14.
10) Battle field of Buzzards Roost, Ga. [manuscript caption]. PVSC #18.
11) Battle Ground of Resacca Ga. No. 1 [manuscript caption]. PVSC #19
12) Battle Ground of Resacca Ga. No. 2 [manuscript caption]. PVSC #20.
13) Pine Mountain [manuscript caption]. PVSC #30.
14) The Potter House Atlanta [manuscript caption]. PVSC #38.
Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer.
In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography" (Davis p.170). Indeed, the work has been called the first great landscape photobook.
Eleven of the above images would appear as illustrations within Barnard's Photographic Views of Sherman's Campaign, with the present images displaying a slightly greater plate area and without the images of clouds superimposed into the sky. Interestingly, the archive includes three images not found in Barnard's Photographic Views of Sherman's Campaign (i.e. the images numbered 1-3 above). The first two of those comprise part of the impressive work done at Lookout Mountain for General Orlando M. Poe and the Corps of Topographical Engineers. "Barnard's photographs from the summit of Lookout Mountain were taken in several positions. It is clear that he was fascinated by the aesthetic potential of this site, and used a set of visual motifs in a variety of permutations. These motifs included the majestic sweep of the landscape itself, the sinuous path of the Tennessee River, the contrast between rocky outcroppings in the foreground and the forested landscape below, and the presence of self-absorbed spectators within this natural grandeur. While central to the landscape art of this era, these themes had rarely been so eloquently expressed in photography" (Davis, p. 67).
The third of these images is quite interesting. Although Barnard had retained many of his original glass plate negatives from his service, some plates had broken and other battlefields from the campaign had not been photographed. He therefore, in 1866, re-visited many of the sites of Sherman's campaign. Among the places he photographed was the site of the Battle of Kennesaw Mountain. The image taken by him in 1866 and the one which appeared in Photographic Views of Sherman's Campaign, is quite different from the present image: in the fore-ground of the present image are primitive battlements, replaced by more finished stacked logs in the 1866 image; further, the present image includes trees (or portions of trees) which are no longer standing in the 1866 image. It would seem, therefore, that the present image pre-dates the 1866 image. The Library of Congress holds a print of the same image from the Colonel Godwin Ordway collection.
It is believed that all of the present images were printed from the original glass plate negatives prior to the publication of Barnard's book. Davis makes several references to Barnard prints in the collections of Poe, Sherman and other notables during the war or shortly thereafter. The non-uniform nature of the mounts further suggests that these images were printed during or shortly after the war, as cardboard mounts were scarce.
Keith F. Davis. George N. Barnard Photographer of Sherman's Campaign (Kansas City, 1990).
#26033 $17,500.00  
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 BARTLETT, William Henry (1809-1854, illustrator)
[American Scenery; or, land, lake, and river illustrations of transatlantic nature]
[London: George Virtue, 1840]. 2 volumes in 1, folio (16 15/16 x 11 7/16 inches). Without text (as issued). Steel-engraved portrait frontispiece of Bartlett dated 1839, 1 map of the northeast of America with routes marked in red. 119 plates (including the 2 large vignettes that are used on the additional titles in the regular published work) by R. Wallis and others, after William Bartlett, each a proof before title and imprint on india paper, mounted as issued, each captioned in pencil in the lower margin of the mount. Contemporary red half morocco over marbled paper-covered boards, the spine gilt in six compartments with double raised bands, lettered in gilt in the second compartment, the others with elaborate overall repeat decoration in gilt, marbled endpapers, top edge gilt.
Very rare large-paper, deluxe issue of American Scenery, with proof plates before letters printed on India paper.
Sabin and Howes both give brief mention to this very rare deluxe folio issue of all the steel-engravings included in the published work, with the latter citing but "a few copies" printed. No copies of this deluxe edition appear in auction records and this is the first copy we have ever seen on the open market. The wide margins and absence of any titling or imprint to the plates allows for an uninterrupted examination of one of the great steel-engraved view books of the 19th century.
Bartlett's images create a valuable visual record of North America. Born in London, William Henry Bartlett was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Britton's own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr. William Beattie's Switzerland illustrated (London, 1836), published by George Virtue ... Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations ... his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. ... [His] was an art which, reflecting the theories of William Gilpin and Edmund Burke, emphasized the irregular and rough, light and shadow, ruined buildings and vast mountains, wild river reaches and towering crags ... Above all, Bartlett's landscapes were readily identifiable ... As a result, Bartlett's sketches have considerable historical value, for they depict the country and its people as they appeared in 1838 to one with an eye for the picturesque..." (Dictionary of Canadian Biography).
Cf. BAL 22755; Howes B209 ("A few copies of the plates, without text, were issued in folio"); Sabin 3784 ("Some proof copies of the plates were printed in folio without letter-press")
#22749$8,500.00
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 BARTLETT, William Henry (1809-1854, illustrator). - Nathaniel Parker WILLIS (1806-1867)
American Scenery; or, land, lake, and river illustrations of transatlantic nature
London: George Virtue, 1840. 2 volumes, quarto (10 5/8 x 8 3/16 inches). Steel-engraved portrait frontispiece of Bartlett, 2 engraved additional titles with integral vignettes, 1 map of the northeast of America with routes marked in red, 117 plates by R. Wallis and others, after William Bartlett. (Some old browning and waterstaining). Contemporary black morocco by J.C. Moore of New York, covers ruled in blind, spines lettered in gilt, marbled endpapers . Provenance: Alice L. Edwards (early signature); J.M. Edwards (signature).
A fine set of one of the great steel-engraved view books of the 19th century, here bound in contemporary full black morocco.
The fascinating text by Willis forms an appropriate context for Bartlett's images, combining to create a valuable visual record of North America. Born in London, William Henry Bartlett "was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Britton's own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr. William Beattie's Switzerland illustrated (London, 1836), published by George Virtue ... Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations ... his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. ... [His] was an art which, reflecting the theories of William Gilpin and Edmund Burke, emphasized the irregular and rough, light and shadow, ruined buildings and vast mountains, wild river reaches and towering crags ... Above all, Bartlett's landscapes were readily identifiable ... As a result, Bartlett's sketches have considerable historical value, for they depict the country and its people as they appeared in 1838 to one with an eye for the picturesque ..."(Dictionary of Canadian Biography).
BAL 22755; Howes B209; Sabin 3784.
#23614$1,000.00
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 BARTLETT, William Henry (1809-1854, illustrator). - Nathaniel Parker WILLIS (1806-1867)
American Scenery; or, land, lake, and river illustrations of transatlantic nature
London: George Virtue, 1840. 2 volumes, quarto (10 3/4 x 8 1/4 inches). Steel-engraved portrait frontispiece of Bartlett, 2 engraved additional titles with integral vignettes, 1 map of the northeast of America with routes marked in red, 117 plates by R. Wallis and others, after William Bartlett. (Some spotting to plates). Contemporary green half morocco over marbled paper-covered boards by Hayday, spines in six compartments with raised bands, lettered in the second and third compartments, the others with overall repeat decoration in gilt made up of small tools, marbled endpapers, gilt edges.
A fine set of one of the great steel-engraved view books of the 19th century, in a signed binding by James Hayday.
The fascinating text by Willis forms an appropriate context for Bartlett's images, combining to create a valuable visual record of North America. Born in London, William Henry Bartlett "was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Britton's own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr. William Beattie's Switzerland illustrated (London, 1836), published by George Virtue ... Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations ... his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. ... [His] was an art which, reflecting the theories of William Gilpin and Edmund Burke, emphasized the irregular and rough, light and shadow, ruined buildings and vast mountains, wild river reaches and towering crags ... Above all, Bartlett's landscapes were readily identifiable ... As a result, Bartlett's sketches have considerable historical value, for they depict the country and its people as they appeared in 1838 to one with an eye for the picturesque ..."(Dictionary of Canadian Biography).
BAL 22755; Howes B209; Sabin 3784.
#23615$900.00
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 BARTLETT, William Henry (1809-1854, illustrator). - Nathaniel Parker WILLIS (1806-1867)
American Scenery; or, land, lake, and river illustrations of transatlantic nature
London: George Virtue, 1840. 2 volumes in seven original parts, quarto (10 1/2 x 8 1/4 inches). Steel-engraved portrait frontispiece of Bartlett, 2 engraved additional titles with integral vignettes, 1 map of the northeast of America with routes marked in red, 117 plates by R. Wallis and others, after William Bartlett. (Some foxing as usual). With an engraved additional title, 7 plates and pp.1-20 of text from Canadian Scenery in part 7 [see below]. Original red roan-backed green glazed paper-covered boards, the upper covers printed with the series title with a large integral wood-engraved vignette (spines rubbed and faded, some with sections lacking, some covers detached).
First edition in parts of American Scenery
American Scenery and Canadian Scenery were initially published in a combined thirteen parts, with part 7 containing the final section of the former and the beginning of the latter. The present set of parts 1-7 constitute the American Scenery section of the combined issue.
The fascinating text by Willis forms an appropriate context for Bartlett's images, combining to create a valuable visual record of North America. Born in London, William Henry Bartlett "was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Britton's own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr. William Beattie's Switzerland illustrated (London, 1836), published by George Virtue ... Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations ... his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. ... [His] was an art which, reflecting the theories of William Gilpin and Edmund Burke, emphasized the irregular and rough, light and shadow, ruined buildings and vast mountains, wild river reaches and towering crags ... Above all, Bartlett's landscapes were readily identifiable ... As a result, Bartlett's sketches have considerable historical value, for they depict the country and its people as they appeared in 1838 to one with an eye for the picturesque ..."(Dictionary of Canadian Biography).
BAL 22755; Howes B209 ; Sabin 3784.
#24197$1,200.00
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 BARTLETT, William Henry (1809-1854, illustrator). - Nathaniel Parker WILLIS (1806-1867)
American Scenery; or, land, lake, and river illustrations of transatlantic nature ... [issued with:] Canadian Scenery Illustrated
London: George Virtue, 1840-1840-1842-1842. 2 works in 4 volumes in 13 original parts, quarto (10 9/16 x 8 1/4 inches). 1pp. list of subscribers included in the 8pp. of advertisements at the front of part I, an additional 4pp. of advertisements are bound at the back of the final part. First work: steel-engraved portrait Bartlett, 2 engraved additional titles with integral vignettes, 1 map of the northeast of America with routes marked in red, 117 plates by R. Wallis and others, after William Bartlett. (Some spotting). Second work: steel-engraved portrait of Bartlett, 2 steel-engraved additional titles with integral vignettes, 1 map of Canada. 117 plates by R. Wallis and others, after William Bartlett. Original red roan-backed green glazed paper-covered boards, the upper covers printed with the series title with a large integral wood-engraved vignette (spines rubbed and faded, some with sections lacking, some covers detached).
First editions in original parts of American Scenery and Canadian Scenery: a very rare combined parts issue.
The two works were issued quarterly to subscribers in the present 13 parts. The American Scenery section ends in part 7, and Canadian Scenery runs from part 7 to the end. The continuous numbering of the parts, the combination of the end of the first work with the start of the second work in part 7, together with the uniform nature of the bindings all indicate the issuance of the two works together.
The fascinating text by Willis forms an appropriate context for Bartlett's images, combining to create a valuable visual record of North America. Born in London, William Henry Bartlett "was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Britton's own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr. William Beattie's Switzerland illustrated (London, 1836), published by George Virtue ... Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations ... and in the summer and autumn of 1838 he was in the Canadas sketching for Willis's Canadian scenery illustrated (1842 ... his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. ... [His] was an art which, reflecting the theories of William Gilpin and Edmund Burke, emphasized the irregular and rough, light and shadow, ruined buildings and vast mountains, wild river reaches and towering crags ... Above all, Bartlett's landscapes were readily identifiable ... As a result, Bartlett's sketches have considerable historical value, for they depict the country and its people as they appeared in 1838 to one with an eye for the picturesque ..."(Dictionary of Canadian Biography.).
American Scenery: BAL 22755; Howes B209; Sabin 3784; Canadian Scenery: cf. Harper Early Artists and Engravers in Canada p.18; TPL 2424
#24195$2,750.00
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 BARTLETT, William Henry (1809-1854, illustrator). - Nathaniel Parker WILLIS (1806-1867)
Canadian Scenery Illustrated.
London: George Virtue, 1842. 2 volumes, quarto (10 5/8 x 8 3/8 inches). Steel-engraved portrait frontispiece of Bartlett, 2 engraved additional titles with integral vignettes, 1 map of Canada. 117 plates by R. Wallis and others, after William Bartlett (scattered minor foxing as usual). Contemporary red half morocco over marbled paper-covered boards, the spine gilt in five compartments with wide semi-raised bands, lettered in gilt in the second fourth compartments, the others panelled in gilt, cream moiré endpapers, gilt edges.
A fine copy of this well-known work: one of the greatest steel-engraved view books of the 19th century.
Born in London, William Henry Bartlett "was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Brittons own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr William Beatties Switzerland illustrated (London, 1836), published by George Virtue... the rest of his life Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations for Nathaniel Parker Willis's American scenery (1840), and in the summer and autumn of 1838 he was in the Canadas sketching for Willis's Canadian scenery illustrated (1842). Although little is known about Bartlett's itinerary in North America, a map in American scenery suggests that his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. His itinerary in the Canadas in 1838 and the observations he may have made also remain obscure because none of his letters from this period has been found. His route appears on a map in Canadian scenery illustrated: he seems to have travelled from Quebec City westward to Niagara Falls, and then by way of the Erie Canal to visit Willis at Owego, N.Y., before sailing for England in December 1838. No written record survives of Bartletts visit to the Maritimes. The dates of the engravings in Canadian scenery illustrated seem to indicate that he went there in 1841 after another visit to the United States ... [Bartlett's] skill in sketching architectural detail, his love for picturesque landscape, and his interest in the life of the people ... gave to his illustrations in Canadian scenery illustrated ... a historical importance that merits their survival" (Dictionary of Canadian Biography.).
Lande 2310; Staton & Tremaine 2424.
#23609$1,200.00
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 BARTON, William Paul Crillon (1786-1856)
A Flora of North America. Illustrated by coloured figures, drawn from nature
Philadelphia: vol.I: M. Carey & Sons; vol.II & III: H.C. Carey & I. Lea, [1820-]1821-1823[-1824]. 3 volumes, quarto (10 9/16 x 8 5/16 inches). Half-titles in each volume. To Subscribers leaf in vol.II. 106 hand-coloured engraved plates (two folding), including some partially printed in colours and finished by hand, from drawings by the author, by Cornelius Tiebout (29), G.B. Ellis (32), F. Kearney (23), J. Boyd (7), J. Drayton (6), C. Goodman (6), Jacob J. Plocher (2) and J.L. Frederick (1). (one folding plate partially backed along fold). Contemporary three quarter calf and marbled boards, spines gilt.
An important American flora, "magnificently illustrated" (DAB) with "Plates [that] are clear, soft and lovely" (Bennett). The work includes the first successful use of stipple-engraving in the United States. This set includes the rare 'To Subscribers' leaf in Volume II.
In addition to its significance as a botanical work, Barton's Flora is also one of the most important early colour-plate books entirely produced in the United States. "The plates were made by [amongst others] Cornelius Tiebout, the first skilled engraver born in the United States, although he trained in London for two years in the 1790's to perfect his technique." (Reese, Stamped with a National Character p. 40). Barton states in the advertisement to the first volume that some of the "plates are printed in colour, and are afterwards coloured by hand. It is confidently believed by the author, that they will be found the most successful attempts at imitation by sound engraving, of the French style, yet made in this country." He goes on to note that the method of colour printing was the result of "repeated experiments" owing "to the impossibility of obtaining information as to the manner of colouring abroad." The text gives details of each species, its Latin binomial, common name, and class and order according to the Linnaean system, followed by interesting information about the history of the discovery of the species and details about its geographical range.
BM(NH) I, p.105; Bennett p. 9 (incorrect plate count); Dunthorne 26; Nissen BBI 84; MacPhail Benjamin Smith Barton and William Crillon Barton 19; Meisel III, p.385; Pritzel 446; Reese Stamped with a National Character 11; Sabin 3858; Stafleu & Cowan TL2 236.
#22470$17,500.00
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 BARTRAM, John (1699-1777) and [William STORK (d. 1768)]
A Description of East Florida, with a Journal, kept by John Bartram of Philadelphia, botanist to His Majesty for the Floridas; upon a journey from St. Augustine up the river St. John's, as far as the lakes
London: Sold by W. Nicol ... and T. Jefferys, 1769. Quarto (10 x 7 1/2 inches). 1 large engraved folding map, 2 engraved folding plans. (Short repaired tear to first map, neatly mended corner folds in first half). Half speckled calf over marbled paper-covered boards (rebacked to style).
The third and by far the best edition of one of the most important 18th-century works on Florida, with significant additions and fine maps not found in the previous editions. One of only two published works by famed American botanist John Bartram.
Great Britain took possession of Florida in the peace settlement of the French and Indian War in 1763, opening the region to exploration and development by the English. In the winter of 1765-66, promoter William Stork and naturalist John Bartram explored the eastern part of Florida, up the St. Johns River near present day Jacksonville. "The celebrated botanist's journal complements Stork's promotional account, and both are among the most important sources for the history of East Florida" (Streeter). Stork describes the importance of East Florida to Great Britain, especially regarding commerce and relations with the Spanish settlements. Bartram's journal is prefaced by an 8pp. "catalogue of plants that may be useful in America" [i.e. in Florida] compiled for Stork by John Ellis. The journal itself is delightful: the daily thoughts and observations of probably the greatest 18th-century American naturalist. It runs from 19th December 1765 to February 12th 1766 and includes details of the places visited and the people encountered, all interspersed with notes on the climate, the terrain, and of course the indigenous animals and plants.
This edition, the rarest of the three published, is noted for the plans of St. Augustine and the Bay of Espiritu Santo and a large map of the region, all by Thomas Jefferys. The map, titled 'East Florida from Surveys made since the last Peace', depicts the major cities and waterways of Florida and is particularly notable for showing the overland route from St. Augustine to St. Mark of Apalache. The map depicts the peninsula as far north as Savannah and as far west as Pensacola.
A lovely copy of one of the most important 18th-century works on Florida, significant for its contributions to travel literature, natural history, and cartography.
Cumming 379 (map); De Renne I:193; Eberstadt 131:285; Howes S1042, "b"; Phillips, p. 280 (map); Sabin 92222; Servies 480; Stafleu & Cowan I, 131-132; Streeter Sale 1183 (1766 edition); Vail 600.
#25219$17,000.00
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 BARTRAM, William (1739-1823)
Travels through North and South Carolina, Georgia, East & West Florida, the Cherokee country, the extensive territories of the Muscogulges, or Creek confederacy, and country of the Chactaws [sic.]. containing an account of the soil and natural productions of those regions; together with observations on the manners of the Indians
London: re-printed for J. Johnson, 1792. 8vo (8 1/4 x 5 inches). Engraved frontispiece portrait of Mico Chlucco, engraved folding map, 7 engraved natural history plates (one folding). Bound to style in eighteenth century calf, flat spine ruled in compartments, brown morocco lettering piece in the second compartment, marbled endpapers.
The first English edition of Bartram's classic account of southern natural history, exploration and Indian tribes.
For the period, Bartram's work is unrivalled. In this first-hand account of his travels in the Southern States in the years 1773-1778, Bartram writes "with all the enthusiasm and interest with which the fervent old Spanish friars and missionaries narrated the wonders of the new found world...he neglected nothing which would add to the common stock of human knowledge" (Field). Sabin considered this work to be "unequalled for the vivid picturesqueness of its descriptions of nature, scenery, and productions." The map illustrates the east coast of Florida from the St. Johns River to Cape Canaveral. This edition is preceded only by the Philadelphia edition of 1791.
Clark I:197; Coats The Plant Hunters pp.273-76; Field 94; Howes b223, "b"; Sabin 3870; Stafleu & Cowan 329.1a; Vail 849.
#21750$6,000.00
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Copyright © 2002-2011 Donald A. Heald
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