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 CURTIS, Edward Sheriff (1868-1952)
A Gray Day in the Bad Lands [Pl. 86]
[Pl. 86]. [Boston: D. Sacilotto for Charles Lauriat's: 1967]. Photogravure by Curtis, finely printed from the original plate, on wove paper watermarked "Tweedweave", by the master printmaker D. Sacilotto. A rare edition, not to be confused with later restrikes. A fine print, the beauty and quality of which rivals that of the original plates.(Small discrete collection stamp outside of plate mark on verso .) Very good condition apart from some light soiling and mild rippling. Plate mark: 13 7/8 x 16 3/4 inches. Sheet size: 17 7/8 x 22 1/4 inches.
A breath-taking image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on American Indians, and the single greatest book in Western Americana.
Curtis described this image as depicting a "cold, cheerless day, when the party of Sioux, wrapped closely in their blankets, rode on in stolid silence." (List of Large Plates Supplementing Volume Three) Located southeast of the Black Hills, between the Cheyenne and White Rivers, the Bad Lands of South Dakota is a barren, rugged stretch of peaks, prairies, and ravines that are difficult to navigate. The Great Sioux Reservation, created by the Fort Laramie Treaty of 1868, and the Pine Ridge and Rosebud agencies, formed in 1878, were situated in the heart of this area. Comprised of several bands including the Brulé, Oglala, Hunkpapa, and Minneconjou Sioux, the Teton or Lakota Sioux inhabited the North American Plains and Prairies west of the Missouri River and were the principal tribe residing near Fort Laramie, Wyoming during the nineteenth century. They were semi-nomadic people, who primarily subsisted on the buffalo they hunted on the high plains.
The original edition of Curtis' The North American Indian had 214 subscribers and Curtis himself handled the distribution. After Curtis declared bankruptcy, the booksellers Charles Lauriat's of Boston purchased the outstanding stock, and the edition from which this print comes was commissioned in order to complete a number of incomplete portfolios. According to information supplied by the printers, the edition was strictly limited with only 17 sets being produced.
Edward Curtis was fascinated with the story of the American Indian from an early age, honing both his knowledge of them and his skill as a photographer on numerous scientific expeditions in the 1890s. With the enthusiastic backing of President Theodore Roosevelt (who wrote the foreword), Curtis evolved his plan for a comprehensive work that would illustrate his romantic vision of American Indian life before the disastrous impact of European contact. He obtained the patronage of J. Pierpont Morgan, whose support (and later, that of his son) enabled the project to go forward. What had originally been projected to take five or six years stretched to twenty-three, consumed $1,200,000 (a third in subsidy from the Morgans), and finally reached a conclusion in 1930, leaving Curtis a broken and bankrupt man. Nonetheless, he succeeded in accomplishing his grand design, and the set remains his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#12597 $550.00  
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 CURTIS, Edward Sheriff (1868-1952)
Prayer to the Mystery [Pl. 91]
[Pl. 91]. [Boston: D. Sacilotto for Charles Lauriat's: 1967]. Photogravure by Curtis, finely printed from the original plate, on wove paper watermarked "Tweedweave", by the master printmaker D. Sacilotto. A rare edition, not to be confused with later restrikes. A fine print, the beauty and quality of which rivals that of the original plates.(Small discrete collection stamp outside of plate mark on verso .) Very good condition apart from some mild rippling and light soiling in the top margin. Plate mark: 17 3/8 x 11 3/8 inches. Sheet size: 22 1/4 x 17 7/8 inches.
A breath-taking image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on American Indians, and the single greatest book in Western Americana.
As in the culture other Plains Indians, spirituality and religious ceremony were a central part of Lakota life. In addition to the important annual Sun Dance, the principal sacred rites included the Vision Quest, Making Relatives, Rite of Purification (Sweat Lodge), Keeping of the Soul, Preparing for Womanhood, and Throwing the Ball. The sacred pipe was an integral part these rites, which all centered around the veneration and invocation of the Great Mystery, Wakan Tanka, the ubiquitous supreme deity that created and governed the universe. The buffalo skull was also a fundamental element of many of these ceremonies. As the prime source of subsistence, buffalo were deemed sacred, and their skulls were frequently used as altars.
"In supplication the pipe was always offered to the Mystery by holding it aloft. At the feet of the worshipper lies a buffalo-skull, symbolic of the spirit of the animal upon which the Indians were so dependent. The subject of the picture is Picket Pin, an Ogalala Sioux." (Curtis, List of Large Plates Supplementing Volume Three) Picket Pin was a frequent fixture of the Rosebud Indian Reservation in South Dakota, and several photographs of him were included in Henry and Jean Hamilton's 1971 publication 'The Sioux Of the Rosebud' as well as Paul Dyck's 'Brule, Sioux People of the Rosebud' of the same year. A band of the Lakota or Teton Sioux tribe, the Oglala inhabited the North American Plains and Prairies west of the Missouri River, and were primarily hunters.
The original edition of Curtis' The North American Indian had 214 subscribers and Curtis himself handled the distribution. After Curtis declared bankruptcy, the booksellers Charles Lauriat's of Boston purchased the outstanding stock, and the edition from which this print comes was commissioned in order to complete a number of incomplete portfolios. According to information supplied by the printers, the edition was strictly limited with only 17 sets being produced.
Edward Curtis was fascinated with the story of the American Indian from an early age, honing both his knowledge of them and his skill as a photographer on numerous scientific expeditions in the 1890s. With the enthusiastic backing of President Theodore Roosevelt (who wrote the foreword), Curtis evolved his plan for a comprehensive work that would illustrate his romantic vision of American Indian life before the disastrous impact of European contact. He obtained the patronage of J. Pierpont Morgan, whose support (and later, that of his son) enabled the project to go forward. What had originally been projected to take five or six years stretched to twenty-three, consumed $1,200,000 (a third in subsidy from the Morgans), and finally reached a conclusion in 1930, leaving Curtis a broken and bankrupt man. Nonetheless, he succeeded in accomplishing his grand design, and the set remains his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#12600$675.00
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 CURTIS, Edward Sheriff (1868-1952)
Mosquito Hawk - Assiniboin [Pl. 102]
[Pl. 102]. [Boston: D. Sacilotto for Charles Lauriat's: 1967]. Photogravure by Curtis, finely printed from the original plate, on wove paper watermarked "Tweedweave", by the master printmaker D. Sacilotto. A rare edition, not to be confused with later restrikes. A fine print, the beauty and quality of which rivals that of the original plates.(Small discrete collection stamp outside of plate mark on verso .) Very good condition apart from some mild rippling. Plate mark: 17 3/8 x 11 1/2 inches. Sheet size: 22 1/4 x 17 7/8 inches.
A breath-taking image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on American Indians, and the single greatest book in Western Americana.
Born on the Missouri River near Williston, North Dakota, Mosquito Hawk was a member of several war parties against the Sioux and Piegans. The Assiniboin were distant relations of the Yanktonai Sioux, from which they divided in the seventeenth century, and inhabited the northern Plains of North America.
The original edition of Curtis' The North American Indian had 214 subscribers and Curtis himself handled the distribution. After Curtis declared bankruptcy, the booksellers Charles Lauriat's of Boston purchased the outstanding stock, and the edition from which this print comes was commissioned in order to complete a number of incomplete portfolios. According to information supplied by the printers, the edition was strictly limited with only 17 sets being produced.
Edward Curtis was fascinated with the story of the American Indian from an early age, honing both his knowledge of them and his skill as a photographer on numerous scientific expeditions in the 1890s. With the enthusiastic backing of President Theodore Roosevelt (who wrote the foreword), Curtis evolved his plan for a comprehensive work that would illustrate his romantic vision of American Indian life before the disastrous impact of European contact. He obtained the patronage of J. Pierpont Morgan, whose support (and later, that of his son) enabled the project to go forward. What had originally been projected to take five or six years stretched to twenty-three, consumed $1,200,000 (a third in subsidy from the Morgans), and finally reached a conclusion in 1930, leaving Curtis a broken and bankrupt man. Nonetheless, he succeeded in accomplishing his grand design, and the set remains his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965; cf. Yenne The Encylopedia of North American Indian Tribes, p. 20.
#12606$950.00
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 CURTIS, Edward Sheriff (1868-1952)
A Flathead Chief [Pl. 229]
[Pl. 229]. Boston: Suffolk Engraving Company, [1907-1930]. Photogravure after Edward Curtis, printed by the Suffolk Engraving Company, Japan paper. Very good condition. Plate mark: 17 3/8 x 12 5/8 inches. Sheet size: 22 x 18 inches.
A breath-taking image from "The North American Indian," the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "The Birds of America" surpasses Curtis's in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities...(Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
"Through the medium of their annual incursions into the buffalo plains east of the Rocky mountains, the Flatheads adopted much of the plains culture. Not only their domicile (the tipi), their garments, weapons, and articles of adornment, came from this source, but many of their dances were in imitation of similar ceremonies practiced by the prairie tribes. Prominent features of the accoutrement of this Flathead chief are his war club of the plains type, and an eagle bone whistle, such as was used in the Sun Dance. The Flatheads however never acquired the sun rite." (Curtis, List of Large Plates Supplementing Volume Seven) Known for their excellent horsemanship, the Flatheads primarily inhabited the Great Basin and were part of the Interior Salish group of tribes that included the Coeur d'Alene, Pend d'Oreille, Spokane, Kalispel, and Nespilim. Like other Salish tribes, they were semi-nomadic and practiced the religion of animism.
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#13161$1,350.00
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 CURTIS, Edward Sheriff (1868-1952)
The Moose Hunter - Cree [Pl. 623]
[Pl. 623]. Boston: Suffolk Engraving Company, [1907-1930]. Photogravure after Edward Curtis, printed by the Suffolk Engraving Company, Japan paper. Very good condition. Plate mark: 13 3/4 x 17 inches. Sheet size: 17 7/8 x 21 3/4 inches.
A breath-taking image from "The North American Indian," the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "The Birds of America" surpasses Curtis's in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities...(Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
"Cree hunters are masters of the art of imitating, by means of a birch bark trumpet, the call of a moose of either sex, and thus luring within gunshot an animal seeking a mate during the rutting season." (Curtis, List of Large Plates Supplementing Volume Eighteen) Close relations of the Ojibwa, the Crees were the chief tribe in Canada and one of the largest in North America. They inhabited an extensive western region north of the prairies and south of the Peace River and were comprised of two principal divisions, the Wood and Plains Cree, which consisted of numerous individual bands.
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#13165$2,750.00
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 CURTIS, Edward Sheriff (1868-1952)
Old Eagle-Oto [Pl. 679]
[Pl. 679]. Boston: Suffolk Engraving Company, [1907-1930]. Photogravure after Edward Curtis, printed by the Suffolk Engraving Company, wove paper (watermarked 'Van Gelder Zonen Made in Holland'). Very good condition. Plate mark: 17 5/8 x 12 7/8 inches. Sheet size: 21 7/8 x 17 3/4 inches.
A breath-taking image from "The North American Indian," the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "The Birds of America" surpasses Curtis's in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities...(Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
"The head dress of this Oto is characteristic of the older style...The medal worn by Old Eagle, in this case bearing the portrait of Lincoln, is like other medals given by the Government to noted chiefs from Washington's time." (Curtis, List of Large Plates Supplementing Volume Nineteen) A band of the Southern Sioux, the Otos inhabited the region along the Missouri River, near the border of Nebraska and Missouri. According to Curtis, they closely resembled other tribes of the western prairies, particularly in their reliance on buffalo for subsistence.
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#13166$1,600.00
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 [CURTIS, Edward Sheriff (1868-1952)
Spokan camp
[Boston]: John Andrew & Son, [1907-1930]. Photogravure after Edward Curtis, printed by John Andrew & Son. Very good condition, apart from a faint blindstamp to the lower right corner. Image area 11 3/4 x 15 1/2 inches. Sheet size 18 1/4 x 22 inches. Deep float, inlaid wood frame. 27 x 31 1/8 inches.
An evocative image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities... (Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
'The scene is the narrow bench some hundreds of feet above the level of Spokane river, on its northern bank and a few miles above its confluence with the Columbia.' (Curtis)
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#18487$2,000.00
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 [CURTIS, Edward Sheriff (1868-1952)
Kutenai girls
[Boston]: John Andrew & Son, [1907-1930]. Photogravure after Edward Curtis, printed by John Andrew & Son. Very good condition, apart from a faint blindstamp to the lower right corner. Image area 11 x 15 5/8 inches. Sheet size 18 1/8 x 22 1/8 inches. Deep float, inlaid wood frame. 27 x 31 1/8 inches.
An evocative image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities... (Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
The Ktunaxa or Kootenay Indians live in the Columbia Basin. The traditional territory of the Ktunaxa Indian Nation includes the Columbia and Kootenay Rivers: it is this system of rivers and lakes that has sustained the Ktunaxa peoples since time immemorial. Here three young girls stand beside a lake with a canoe to their left.
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#18488$1,900.00
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 [CURTIS, Edward Sheriff (1868-1952)
On the Rio Grande - San Ildefonso
Cambridge, Mass.: Suffolk Engraving Company, [1907-1930]. Photogravure after Edward Curtis, printed by the Suffolk Engraving Company. Very good condition, apart from a faint blindstamp to the lower right corner. Image area 11 1/2 x 15 5/8 inches. Sheet size 17 3/4 x 21 7/8 inches. Deep float, inlaid wood frame. 27 x 31 1/8 inches.
An evocative image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities... (Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
'The plate illustrates the native garb of Tewa women, a sleeveless, one piece, woollen dress, a woven belt, and white deerskin boots.' (Curtis)
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#18489$1,900.00
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 [CURTIS, Edward Sheriff (1868-1952)
Wishham maid
[Boston]: John Andrew & Son, [1907-1930]. Photogravure after Edward Curtis, printed by John Andrew & Son. Very good condition, apart from a faint blindstamp to the lower right corner. Image area 12 x 15 3/4 inches. Sheet size 18 1/8 x 21 7/8 inches. Deep float, inlaid wood frame. 27 x 31 1/8 inches.
An evocative image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities... (Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
'Clad in her deerskin dress of the plains and her basketry hat of the coast, the girl pauses on the grim lava rocks above the Dalles, looking out across the thundering rapids, perhaps observing the activities of her friends in the village Wasko.' (Curtis)
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#18490$1,400.00
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 [CURTIS, Edward Sheriff (1868-1952)
Spearing salmon - Wishham
[Boston]: John Andrew & Son, [1907-1930]. Photogravure after Edward Curtis, printed by John Andrew & Son. Very good condition, apart from a faint blindstamp to the lower right corner. Image area 11 3/4 x 15 3/8 inches. Sheet size 18 1/8 x 21 7/8 inches. Deep float, inlaid wood frame. 27 x 31 1/8 inches.
An evocative image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities... (Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)
'The nature of the shore and the height of the water level sometimes combine to make dip-netting impossible. Recourse is then had to the double-pointed spear, the socketed barbs of which are connected to the shaft by strong cords, so that when a fish is struck and its struggles detach the barbs from the prongs it is held by a hook and line.' (Curtis)
Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.
Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.
#18491$1,900.00
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 CURTIS, William (1746-1799), and others, editors
The Botanical Magazine: or, the flower garden displayed
London: Stephen Couchman [and others], 1787-2007. 'Botanical Magazine' dedications). 213 volumes in 192 bound vols. (vols. 1-208; 4 general index volumes; 1 vol. of 'Botanical Magazine' dedications), octavo (8 9/10 x 5 5/8 inches approx). 133 (of 134) portraits, 11,332 plates (11,328 coloured, 1236 folded, 1 double-page, 144 unnumbered), most hand-coloured engravings or lithographs, extra-illustrated with the cancelled part III in vol.208 (with incorrect pagination, but with the same plates as the replacement part issued in early 2008). (Volume 179 lacking the title, portrait, dedication and index leaves). Near-uniform full calf (6 vols) or half calf (186 vols.), spines gilt in six compartments with raised bands, morocco lettering-pieces in the second and fourth compartments.
A beautiful and important work which has taken 220 years to assemble: a very fine and magnificently bound complete run of one of the oldest scientific periodicals of its kind with hand-coloured engravings. "The reputation of the Magazine has always resided in the accuracy of its portrayal of plants. This pictorial record of garden and greenhouse plants from the temperate and tropical regions of the world has no rival.." (Desmond p.7).
William Curtis had witnessed from personal experience that his clients refused to buy folio pictures of unassuming plants (vide. his Flora Londinensis) but he felt that they would subscribe to an octavo work which pictured the showy plants that filled their gardens: from this premise was born the Botanical Magazine in February 1787. The work was immediately successful, and the early volumes were quickly re-issued. The bound volumes of the present set comprises First Series: vols. 1-42 in 21 vols; New Series (1st), vols. 43-53 in 11 vols; New Series (2nd), vols. 54-70 in 17 vols; Third Series, vols. 71-130 in `50 volumes; Fourth Series, vols. 131-146 in 16 volumes; [Fifth] series, vols. 147-184 in 38 volumes; [Sixth] Series, vols. 185-208 in 24 volumes, and 3 volumes of General Indexes (to vols. 1-107, by Edmund Tonks published in 1883; to vols. 1-130, by Hemsley published in 1906; and vols. 1-170, by Chittenden published in 1956), a 1 vol. fifteen year index (to vols. 185-199, by Pat Halliday and Brian Mathew published in 2002) and 1 vol. Curtis's Botanical Magazine Dedications 1827-1927 compiled by Ernest Nelmes and William Cuthbertson, published in about 1931.
This set, undoubtedly the finest available, and probably the finest in existance, runs to over 19 feet of shelf space, with bindings that are the work of generations of the finest available craftsmen. Just as the enlightened members of the family which collected this great set will have reflected the fashions of their own time, so, the bindings, whilst forming a harmonious whole, also show the subtle variations in tooling, leather and marbling that mark them as products of their time.
The contents also show the influence of the era in which they were written: William Curtis edited the work until his death in 1799 (vols.1-13), John Sims then took over until 1826. Subsequent editors have included William Jackson Hooker and Joseph Dalton Hooker, Otto Stapf, Arthur Hill, W.B. Turrill and others. The plates offer an historical panorama of the work of the most prominent botanical artists of the day: the majority of the plates up to volume 43 are by Sydenham Edwards, with later contributions from James Sowerby, John Curtis, William Jackson Hooker and, for much of the second half of the 19th century, Walter Hood Fitch. His nephew John Nugent Fitch continued to produce plates after his uncle's retirement, and he was succeeded by Matilda Smith, Lilian Snelling, Stella Ross-Craig and others. The final hand-coloured plates appeared in vol. 164 (which took five years to publish because of the difficulties in getting the plates hand-coloured). For a brief period the magazine appeared under the title of the Kew Magazine, but common-sense prevailed and the original name was soon re-adopted and continues today.
Great Flower Books p. 83; Nissen BBI 2350; Stafleu & Cowan TL2 1290
#7661$200,000.00
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 CURTIS, William (1746-1799)
The Botanical Magazine; or, Flower-Garden displayed
London: various imprints, 1787-1935, 1937-1983. Volumes 1-158, 160-183, and vol.184, parts 1, 2 and 4 only, and 4 index volumes, octavo. 33 (of 35) portraits, and 10,515 botanical plates including 9,642 engravings or lithographs (2 uncoloured, 1 tinted lithograph, 9,639 hand-coloured or partially hand-coloured), 873 colour-printed plates. Extra-illustrated with 30 duplicate hand-coloured plates. Various bindings: volumes 1-40 contemporary near-uniform calf; volumes 41-42 in modern half calf; vols. 43-61 near-uniform tree calf; volumes 62-155, 158, 160-163 original cloth, volumes 156, 157, 165-173 contemporary buckram, volumes 174-184 in original wrappers.
An all-but complete run to 1983 of one of the oldest scientific periodicals of its kind with hand-coloured engravings. "The reputation of the Magazine has always resided in the accuracy of its portrayal of plants. This pictorial record of garden and greenhouse plants from the temperate and tropical regions of the world has no rival.." (Desmond p.7)
William Curtis had witnessed from personal experience that his clients refused to buy folio pictures of unassuming plants (vide. his Flora Londinensis) but he felt that they would subscribe to an octavo work which pictured the showy plants that filled their gardens: from this premise was born the Botanical Magazine in February 1787. The work was immediately successful, and the early volumes were quickly re-issued. Under the editorship of a number of the most gifted boataqnist of their day, the Magazine continued to be published throughout the 19th century, and the present run also includes the volumes which appeared in the first eight decades of the 20th century. The magazine continued after 1983 with vol.I of a new series (which was renamed the 'Kew Magazine' for a while) and is still published today.
The present run is made up from five distinct series and a number of index volumes. The details are as follows:
William CURTIS (1746-1799), and John SIMS (1749-1831). The Botanical Magazine: or, the flower garden displayed [vols.15-42: Curtis's Botanical Magazine...]. London: 1789-1815. Vols.1-42 in 21 volumes, octavo (9 1/4 x 5 5/8 inches and larger). 1 bistre stipple-engraved portrait of William Curtis, 1774 engraved plates (2 uncoloured, 1772 hand-coloured, numbered 1-902, 903A, 903B, 904-923, 923*, 924-1604, 1605A, 1605B, 1606-1684, 1685A, 1685B, 1686-1770), 71 folding, the 20th volume with 30 duplicate plates and text (nos.682-1684, 1685A, 1685B, 1686-1710) bound at the back. Vols.1-40 in 20 volumes: near-uniformly bound in contemporary speckled calf, spines gilt, vols.41-42 in 1 volume in modern half calf.
The majority of the plates are by Sansom after Sydenham Edwards. The main colourist was William Graves.
John SIMS and Sir William Jackson HOOKER (1785-1865). Curtis's Botanical Magazine ... new series. London: 1816-1844. Vols.43-70, octavo (9 x 5 1/2 inches). 1 uncoloured lithographic portrait of David Douglas. 2363 hand-coloured engraved plates (numbered 1771-1831, 1832A, 1832B, 1833-1884, 1885A, 1885B, 1886-4131), 353 folding. Contemporary near-uniform tree calf, spines gilt.
The portrait fronts volume 62. Plates after J. Curtis, W.J. Hooker, Walter Hood Fitch and others.
Sir William Jackson HOOKER, Sir Joseph Dalton HOOKER (1817-1911) and W. Botting HEMSLEY (editors). Curtis's Botanical Magazine ... third series. London: 1845-1904. Vols.71-130, octavo (9 5/8 x 5 7/8 inches). 3860 plates (numbered 4132-7991), 506 folding. Uniform publisher's brown cloth, covers elaborately blocked in blind, spines lettered in gilt.
The plates are as follows: 29 hand-coloured engravings (6 folding), 3831 lithographs (1 tinted, 3830 hand-coloured or finished by hand, 500 of these folding). Helmsley was assistant editor of volumes. 129 and 130. Plates by and after W. H. Fitch, and by J.N. Fitch after Matilda Smith, Lady Thistleton-Dyer and others. Volume 71 also includes the 48-page Companion to the Botanical Magazine, (New Series).
Sir William Turner THISELTON-DYER, Sir David PRAIN, John RAMSBOTTOM, Otto STAPF, Arthur William HILL, Arthur Disbrowe COTTON (editors). Curtis's Botanical Magazine ... fourth series. London: 1904-1935, 1937-1948. Volumes 131-158, 160-164. Octavo (9 5/8 x 5 7/8 inches and smaller). 10 collotype portraits, 1648 coloured plates (numbered 7992-8873, 8874/8875, 8876-8888. 8889/8890, 8891-8903, 8904/8905, 8906-8918, 8919/8920, 8921-8925, 8926/8927, 8928-9424, 9469-9688), 224 folding. Vols. 131-155, 158, 160-163 in publisher's brown cloth uniform with vols.71-130; vols. 156, 157 in contemporary buckram; vol. 164 in cloth bound to match.
The plates are lithographs, hand-coloured or finished by hand, except for three plates in the 147th volume that are colour printed: plate numbers 8891, 8901 and 8929. The missing volume 159 includes 44 plates. The plates are mainly after Lillian Snelling.
William Bertram TURRILL, George TAYLOR, David R. HUNT (editors). Curtis's Botanical Magazine ... new series. London: 1948-1983. Volumes 165-173 in 9 volumes, vols. 174-183 and 184, parts 1, 2 and 4, in 43 original parts. Octavo (10 x 6 1/4 inches). 20 (of 22) collotype or half-tone portraits, 870 coloured plates (numbered 1-859, 872-882). (Volume 173 lacking title page, volume 179, part 4, lacking the title, portrait, dedication and index leaves, vol. 184, part 4, also lacking the title, portrait, dedication and index leaves). Vol. 165-173 in contemporary buckram; vols. 174 -184 in original thin card wrappers.
[?John SIMS]. General Indexes to the Plants contained in the first twenty volumes of the Botanical Magazine. London: 1805. Octavo (9 1/8 x 5 3/4 inches). Stipple engraved portrait of Curtis by F. Sansom. Contemporary tree calf, spine gilt.
Edmund TONKS (editor). General Index to the Latin names and synonyms of the plants pepicted in the first hundred and seven volumes of Curti's Botanical Magazine, to which is added a short list of popular names. London: B. Quaritch, 1883. Octavo (10 x 6 3/8 inches). Uncut. original red cloth, paper label to spine.
W. Botting HEMSLEY. A New and Complete Index to the Botanical Magazine from its commencement in 1787 to the end of 1901, including the first, second, and third series. To which is prefixed a history of the magazine. London: lovell, Reeve & Co. Ltd., 1906. Octavo (9 3/4 x 6 inches), Half-title, wood-engraved title vignette. Original cloth, covers blocked in blind, spine lettered in gilt.
F.J. CHITTENDEN. Curtis's Botanical Magazine Index With a revision of the names of the plants depicted from the beginning in 1787 to the end of 1947 Volume 1 ti Volume 164 To which is appended a brief history of the magazine ... with an appendix giving the titles and nu,bers of the plates from Volume 165 to Volume 170. London: 1956. Octavo (9 3/4 x 6 1/8 inches). Title vignette. Original green thin card wrappers, titled on the upper cover and backstrip.
Great Flower Books (1990) pp. 156-7; Henrey 473; Hunt 689; Nissen BBI 2350; Pritzel 2007; Stafleu & Cowan TL2 1290.
#16728$97,500.00
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 CURTIS, William (1746-1799) and others, editors
The Botanical Magazine; or, Flower-Garden displayed
London: various imprints, 1787-1826. 54 volumes in 33 (vols. I-XLII in 21, index vols. to vols. I-XX and vols. I-XLII in one, vols. XLIII-LIII), octavo (9 x 5 1/2 inches). Uncoloured engraved portrait frontispiece of Curtis (at front of index vol.), 2694 engraved plates (2691 hand-coloured [178 of these folding]). Near-uniform contemporary tree calf, covers with gilt roll-tool border, the flat spines divided into six compartments, red morocco lettering-piece in the second, green morocco in the fourth, the others with repeat decoration in gilt centered on a large cornucopia tool, marbled endpapers.
A complete run in an exceptional binding of the first two series of one of the oldest scientific periodicals of its kind with hand-coloured engravings. "The reputation of the Magazine has always resided in the accuracy of its portrayal of plants. This pictorial record of garden and greenhouse plants from the temperate and tropical regions of the world has no rival.." (Desmond p.7)
William Curtis had witnessed from personal experience that his clients refused to buy folio pictures of plants (vide. his Flora Londinensis) but he felt that they would subscribe to an octavo work which pictured the showy plants that filled their gardens: from this premise was born the Botanical Magazine in February 1787. The work was immediately successful, and the early volumes were quickly re-issued. The bound volumes of the present set comprises First Series: vols. 1-42 in 21 vols; New Series (1st), vols. 43-53 in 11 vols. Curtis edited the work until his death in 1799 (vols.1-13), John Sims then took over until 1826. Also included are two general indices for the first 42 volumes, issued in 1805 (with a fine portrait of Curtis) and 1817. The plates were worked on by most of the most prominent botanical artists of the day, but the majority of the plates up to volume 43 are by Sydenham Edwards.
Great Flower Books (1990) pp. 156-7; Henrey 473; Hunt 689; Nissen BBI 2350; Pritzel 2007; Stafleu & Cowan TL2 1290.
#17309$55,000.00
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 D'ANVILLE, Jean Baptiste Bourguignon (1697-1782)
Africa, with All Its States, Kingdomes, Republics, Regions, Island &c. Improved and inlarged from D'Anville's map to which have been added a particular chart of the Gold Coast [on an inset larger scale map] wherein are distinguished all the european forts and factories by S. Boulton and also a summary description relative to the trade and natural produce, manners and customs of the African continent and islands
London: Robert Laurie & James Whittle, 1794. Copper-engraved map, on four joined sheets, with original outline colour, some splits to old folds, small tears at margins, one with slight loss, overall in good condition. Sheet size: 41 1/2 x 49 1/4 inches.
A fascinating late eighteenth-century wall map of Africa, after one of France's greatest cartographers
Jean Baptiste Bourguignon d'Anville was the spiritual successor to Guillaume De L'Isle in the sense that he maintained the rigorous standard for accuracy that De L'Isle had established. D'Anville was the last French mapmaker to establish an international reputation superior to all his contemporaries, as witnessed by the respect shown by English cartographers and publishers during an era when the two countries were often at war and always hostile to one another.
This excellent map of Africa, an English edition with revisions of D'Anville by Laurie & Whittle, was issued when the European appetite for exploration and colonization of the continent was just getting underway. By this time there were well over fifty fort/trading posts on the western and southeastern coasts representing various European nations, but there had been almost no penetration of the interior (these European `forts & factories' on the Gold Coast are shown in close up on Boulton's inset map). With the gradual outlawing of the slave trade by most civilized nations, interest in the vast interior regions greatly increased as whites sought other profitable resources, and Catholic and Protestant missionaries bravely evangelised.
The peoples of Africa proved much more diverse and intriguing than ever imagined, and some of the discoveries in this regard are included in the extensive texts that are interspersed amongst the geographic features shown on the map.
#10394$2,500.00
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 D'ANVILLE, Jean Baptiste Bourguignon (1697-1782) and LAURIE & WHITTLE
A New Map of the Whole Continent of America, divided into North and South and West Indies, wherein are exactly described the United States of North America as well as the several european possessions according to the preliminaries of peace signed at Versailles Jan. 20 1783. Compiled from Mr. D'Anville's maps of that continent, with the addition of the Spanish discoveries in 1775 to the north of California & corrected in the several parts belonging to Great Britain from the original materials of Governor Pownall, MP
London: Robert Laurie & James Whittle, 1794. Copper-engraved map on four joined sheets, with period hand-colouring in outline, overall sheet size: 48 1/8 x 49 inches. Fine condition except for some small tears to the margins and old folds, some light browning.
A magnificent late 18th-century wall map of the Americas.
Jean Baptiste Bourguignon d'Anville was the spiritual successor to Guillaume De l'Isle in the sense that he maintained the rigorous standard for accuracy that De l'Isle had established. D'Anville was the last French mapmaker to establish an international reputation which was superior to all his contemporaries, as witnessed by the respect shown by English cartographers and publishers during an era when the two countries were often at war and always hostile to one another.
Robert Laurie and James Whittle were London print and map publishers, who issued revised and enlarged English editions of many of D'Anville's maps. The present wall-map was apparently first issued in this form by Robert Sayer in 1786 - Laurie & Whittle subsequently took over the plate, substituted their names and had the date altered.
Cf. Phillips Maps of America p.111 (Sayer issue).
#10396$3,500.00
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 D'ANVILLE, Jean Baptiste Bourguignon (1697-1782)
[Louisiana and the Gulf Coast] Carte De La Louisiane
Paris: D'Anville, 1752. Copper-engraved map, on two joined sheets, in excellent condition. Sheet size: 21 3/4 x 38 1/2 inches.
A very fine copy of one of the most influential French map of Louisiana, by the royal cartographer D'Anville
This very important and highly detailed map represents the most authoritative expression of French knowledge of Louisiana, the Gulf Coast and the Mississippi River. It was tremendously influential, being consulted by cartographers for the next two generations. The map takes in the entire region from what is now the Louisiana-Texas border in the west over past Bay St. Joe's, Florida in the east. The main map charts the course of the Mississippi from the 33rd parallel down to its delta on the Gulf. The cartographic inset on the right side of the map features the Mississippi basin up to a point north of its confluence with the Missouri River.
Jean Baptiste Bouguignon d'Anville was appointed Royal Geographer to Louis XV at the age of twenty. A meticulous scholar of cartographic sources, he drew on fifty years of French exploration of the region to draft this map in 1732. Owing to that fact that Paris was not eager to share its advanced geographic knowledge with its rivals, this map was not printed until 1752, as noted beneath the title. Cavalier de La Salle was the first explorer to travel down the Mississippi to the Gulf in 1682, claiming the region for France. The Sieur d'Iberville founded New Orleans in 1717, and by the time this map was drafted, the French had heavily explored the region. As shown here, they had at various times established a series of forts including Fort Rosalie (Natchez), Mobile, Biloxi, and various missions in the upper Mississippi valley. The Spanish settlement of Pensacola as well as numerous native villages are also depicted. As evinced here, the French had not only surveyed the Gulf coast but also the interior, as the courses of many rivers, such as the Red, Ouachita, Pearl, Pascagoula, and Alabama, Arkansas, Illinois, and Missouri Rivers are clearly delineated.
Cartographic Resources in the Rosenberg Library, 333; Charting Louisiana, 24; The Lowery Collection, 141; Phillips, A List of Maps of America, p.368
#19689$2,750.00
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 DALBY, After David (1794-1836)
Tarrare, the Winner of the Great St. Leger, at Doncaster, 1826. (Ninety-five Subscribers - Twenty-seven Started.) By Catton, out of Henrietta, by Sir Solomon. The Property of the Right Honble. the Earl of Scarborough. To whom this Print, by Permission is most respectfully dedicated by the Publishers
[Doncaster]: W. Sheardown & Sons, [1826]. Aquatint, printed in colours and finished by hand, by C. Hunt, 'Minerva head' blindstamp. Image size (including text): 12 x 16 1/4 inches. Sheet size: 16 9/16 x 22 1/4 inches.
A fine print from the 'Winners of the Great St. Leger Series', started by John Frederick Herring and ably continued here: David Dalby's "portraits of horses are very fine" (Charles Lane).
David Dalby "was born in 1794 and is noted as an animal painter in a York directory in 1815. Within five years he was busy with commissions from the Yorkshire hunting and racing fraternity. The racehorse owner Richard Watt of Bishop Burton was an important patron. Dalby painted primarily in York but also at Leeds and Doncaster where he may have lived from time to time during his comparatively short life. His portraits of horses are very fine and it is sad that so few were engraved." (Charles Lane British Racing Prints p.97)
"In 1825 The Doncaster Gazette commissioned [John Frederick] Herring to paint a series of pictures of the winners of the St. Leger starting in 1815... W. Sheardown and Sons of Doncaster published these brilliantly engraved prints (by Thomas Sutherland) in 1825 with the 1826 winner, Tarrare, contributed by David Dalby. Messrs Fuller of London... continued the series until the mid-1840s." (Charles Lane British Racing Prints p.120)
Lane British Racing Prints p.97.
#5188$3,500.00
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 DANIELL, Samuel (1775-1811)
Boosh Wannah's
London: Published by Samuel Daniel, 1804. Aquatint, coloured by hand, backed, with two skilfully repaired tears into image area. Image area: 12 3/4 x 17 3/4 inches. Sheet size: 17 1/4 x 21 3/4 inches.
A stunning aquatint from Samuel Daniell's celebrated work, "African Scenery and Animals at the Cape of Good Hope".
Samuel was the younger brother of the famous topographical painter William Daniell, and the nephew of Thomas Daniell: the least known because of his early death, but Thomas Sutton considered him 'the most inspired and original of the three.' Samuel evidently developed a keen interest in natural history and an insatiable desire to travel, a combination which inspired him to follow in his brother's footsteps. Soon after the first British occupation of South Africa, Daniell left England for the Cape of Good Hope, arriving in December of 1799.
His affable nature and considerable artistic skills earned him an appointment as artist on Truter's expedition. The party set off in October of 1801 to explore the northern and eastern regions of the Cape Colony. The area, which included the Moloppo and Kuruman rivers on the border of Botswana, was relatively uncharted at that period and the expedition discovered many new specimens and geographical features which had gone unnoticed by earlier European explorers. Daniell himself discovered the source of the Kuruman river, known as the "eye," which has become one of South Africa's most celebrated natural wonders. His own keen eye and quick pen allowed him to make numerous sketches whilst traveling through South Africa, sketches which were used in his two seminal books African Scenery and Animals at the Cape of Good Hope published between 1804 and 1805 (in two volumes with coloured plates, at £21), and Sketches representing the Native Tribes..of Southern Africa, published in 1820 with uncoloured plates.
Thomas Sutton writes of the present work: 'The coloured plates represent local scenery, animals singly or in groups in their natural surroundings, native types, and views of kraals' (p.107). He goes on to sum up the achievement of the work: 'It may safely be said that never before had drawings of animals been presented so beautifully in their natural scenery. Particularly fine are the plates of the gnu, springbok, and the hippopotamus. The landscapes are equally fine, those of Sitsikamma, with the interlacing jungle trees and elephants watering, the Hottentot Kraal, and the Korah Hottentot Village being lovely things. Apart from these, such plates as the Halt of a Boor's Family and Boors returning from Hunting are valuable records of early itinerant life in South Africa ... [In this work, Samuel Daniell] shows full control over his medium: his freshness of approach is apparent; his composition and colour are full of beauty; his animals are delicately drawn, his figure-studies full of life and sincerity and warmth' (pp.107 -111).
Cf. Abbey Travel 321; cf. Lowndes I, p.588 (incorrect publication date); Mendelssohn I, p.411; Nissen ZBI 1035; T. Sutton The Daniells Artists and Travellers 1; Tooley 168.
#19139$1,750.00
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 DANIELL, Thomas and William
Interior of the Temple of Mandeswara, near Chaynpore, Bahar
London: Published as the Act Directs for Thos. Daniell, Howland Street, Fitzroy Square, 1 December 1808. Colour printed aquatint with hand-finishing by Thomas and William Daniell. Printed on wove Whatman paper. Image size: 23 3/8 x 16 3/4 inches. Sheet size: 29 x 21 inches.
A stunning view of the interior of the Mundesvari temple, from Thomas and William Daniell's celebrated book "Oriental Scenery".
The Daniells' Oriental Scenery is considered one of the finest illustrated works on India. Thomas Daniell and his nephew William spent nine years in India making studies, sketches and drawings of the scenery, architecture, and antiquities that graced the countryside. They then devoted a further thirteen years to publishing their remarkably accurate aquatints. In Britain, the impact was explosive. A cult of Indian architecture, landscaping and interior decoration arose, with the Royal Pavilion at Brighton as its centerpiece. The Daniells gave the English public their first accurate look at the exotic sub-continent. Their great achievement still lies in their ability to blend the picturesque with the real, resulting in images that capture the European taste for the sublime landscape, while still remaining faithful to their subjects. The Daniells brought the romance of the English landscape to the antiquities of India and provided England with an accurate vision of this wondrous country.
Consisting of one hundred and forty-four views, published in six parts, the work was issued in seven stages: three sets of twenty-four plates titled Oriental Scenery with title dates of 1795, 1797, and 1801; twelve plates titled Antiquities of India dated 1799; twenty-four plates titled Hindoo Excavations dated 1803; twenty-four plates titled Views in Hindoostan dated 1807; and twelve further plates of Antiquities of India published without a title page in 1808. All plates were engraved by the Daniells and all are taken from their drawings save the twenty-four plates of Hindoo Excavations, which are after drawings by James Wales.
Before climbing the hill to visit the Mundeshvari temple, the Daniells visited the small town of Ramgarh on the banks of a tranquil lake. They spent some time here, during which they sketched the village with its thatched houses and domed temple. They then proceeded up the steep slopes to the Mundesvari temple on the summit. Dating from 635 this temple was one of the oldest standing hindu monuments in Northern India. The Daniells sketched two views of this sacred shrine including this image of the interior with a pilgrim at prayer. While in the region William made the following observations, "22 January 1790. The Temple... terminates the top of the hill of Seeta, and was dedicated to Mandeswara, one of the apellations of Maha-Deva". This is a magnificent image from this important book and a wonderful glimpse of India at the close of the eighteenth century.
Abbey Travel II.420 no.73; Archer, Early Views of India. The Picturesque Journey's of Thomas and William Daniell, no. 22; Martinelli and Michell, India: Yesterday and Today, p. 15, no 29
#5141$2,000.00
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 DANIELL, Thomas
Part of the City of Patna, on the River Ganges
London: Published as the Act Directs for Thos. Daniell by Robt Bowyer at the hisotric Gallery, Pall Mall, March 1795. Colour-printed aquatint with additional hand colouring. Printed on wove Whatman paper, watermarked 1794. In fair condition. Sheet has been trimmed within the platemark on all sides and remargined along the bottom margin. Numerous repaired tears and puncture marks across sheet and two faint crease marks which have been flattened. Image is slightly sun bleached. Image siz | | | |
