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browsing 4347 items
displaying items 501 to 600
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 AUDUBON, John James (1785-1851)
Slender-billed Guillemot. From "The Birds of America" (Amsterdam Edition) [Pl. 430]
[Pl. 430]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 11 7/8 x 18 3/4 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).
In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".
The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.
The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].
The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.
"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.
The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.
Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.
#7937 $120.00  
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 AUDUBON, John James (1785-1851)
American Flamingo. From "The Birds of America" (Amsterdam Edition) [Pl. 431]
[Pl. 431]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 37 x 24 1/2 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).
In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".
The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.
The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].
The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.
"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.
The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.
Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.
#7938$4,000.00
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 AUDUBON, John James (1785-1851)
Burrowing Owl, Large-headed Burrowing Owl, Little night Owl, Columbian Owl, Short-eared Owl. From "The Birds of America" (Amsterdam Edition) [Pl. 432]
[Pl. 432]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 20 7/8 x 24 3/4 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).
In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".
The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.
The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].
The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.
"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.
The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.
Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.
#7939$140.00
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 AUDUBON, John James (1785-1851)
Bullock’s Oriole, Baltimore Oriole, Mexican Goldfinch, Varied Thrush, Common Water Thrush. From "The Birds of America" (Amsterdam Edition) [Pl. 433]
[Pl. 433]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 19 7/8 x 13 3/4 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).
In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".
The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.
The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].
The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.
"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.
The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.
Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.
#7941$160.00
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 AUDUBON, John James (1785-1851)
Little Tyrant Fly-catcher, Small-headed Fly-catcher, Blue Mountain Warbler, Common Water Thrush. From "The Birds of America" (Amsterdam Edition) [Pl. 434]
[Pl. 434]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 18 3/4 x 11 3/4 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).
In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".
The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.
The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].
The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.
"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.
The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.
Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.
#7942$140.00
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 AUDUBON, John James (1785-1851)
Columbian Water Ouzel, Arctic Water Ouzel, Bartram's Vireo, Short-legged Pewee, Rocky Mountain Fly-catcher. From "The Birds of America" (Amsterdam Edition) [Pl. 435]
[Pl. 435]. Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971-72. Colour-printed lithograph, on fine hand-made paper. Excellent condition. Image size (including text): 19 1/2 x 12 inches. Sheet size: 26 3/4 x 39 7/8 inches (approx).
In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America".
The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours.
The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram].
The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838.
"The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured.
The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices.
Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work, 1993, Appendix I.
#7944$100.00
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 AUDUBON, John James (1785-1851)
Cock of the Plains [Sage Grouse] [Pl. 371]
[Pl. 371]. Hand-colored engraving with aquatint and etching by Robert Havell, Jr., 1837, paper watermark indistinct, some expert small repairs to lower margin. Sheet size: 25¼ x 38 inches.
From the first edition of "The Birds of America."
One of Audubon's great images: the male sage grouse is pictured in the midst of its extraordinary mating dance while a female looks on quietly, apparently uninterested in the highly stylized posturings of her would-be mate.
"Although the Cock of the Plains has long been known to exist within the limits of the United States, the rugged and desolate nature of the regions inhabited by it has hitherto limited our knowledge of its habits to the cursory observations made by a few intrepid travelers...Two of these travelers, my friends, Mr. [J.K.] Townsend and Mr. [T.] Nuttall, have favoured me with the following particulars [with some added]...notes of Mr.Douglas...This bird is only found on plains which produce the worm-wood (Artemesia), on which it feeds...It is very unsuspicious, and easily approached, rarely flies unless hard-pressed, runs before you at the distance of a few feet, clucking like a common hen, often runs under the horses of travelers when disturbed, rises very clumsily, but when once started, flies with rapidity to a great distance" (J. J. Audubon, The Birds of America, New York & Philadelphia: 1840-1844, vol. V, pp.1o6-107). "This, the largest grouse of North America, was called the 'pheasant-tailed grouse' or 'cock of the plains' by Audubon, who in his travels on the upper Missouri did not quite reach the western country where it is found. The sage grouse is noted for its extraordinary dance… The dance in an arena amongst the open bush is a communal affair. A number of males, each one well-spaced, dance with their spiky tails spread and their yellow neck sacs inflated...Originally the sage grouse was found in fifteen of the western states, wherever sagebrush flourished...Overgrazing and drought in the 1930s nearly brought the sage grouse to the status of an endangered species...The survivors started to recover by the 1950s, and today the sage brush population has an estimated total population of 1,500,000 birds" (R. T. & V. M. Peterson, Audubon's Birds of America, London: 1981, no. 126).
Susanne M. Low, A Guide to Audubon's Birds of America, New Haven & New York: 2002, p.189.
#8463$22,500.00
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 AUDUBON, John James (1785-1851)
Passenger Pigeon [Pl. 62]
[Pl. 62]. Hand-coloured engraving with aquatint and etching by R. Havell, paper watermarked "J. Whatman/1836". In excellent condition with the exception of two expertly mended tears on right margin not extending within platemark. Plate mark: 25 7/8 x 20 3/4 inches. Sheet size: 37 13/16 x 25 7/16 inches.
From the first edition of "The Birds of America."
Audubon wrote with unintentional pathos of the Passenger Pigeon, "When an individual is seen gliding through the woods and close to the observer, it passes like a thought, and on trying to see it again, the eye searches in vain; the bird is gone." At the time when Audubon drew this image, the Passenger Pigeon was one of the most numerous species of bird on Earth. He was clearly fascinated by the species and has left us, in addition to the beautiful image of these doomed birds, a detailed and wonderfully poetic account of their habits: "The air was literally filled with Pigeons; the light of noon-day was obscured as by an eclipse...and the continued buzz of wings had a tendency to lull my senses to repose...I cannot describe to you the extreme beauty of their aerial evolutions, when a Hawk chanced to press upon the rear of a flock. At once, like a torrent, and with a noise like thunder, they rushed into a compact mass...In these almost solid masses, they darted forward in undulating and angular lines, descended and swept close over the earth with inconceivable velocity, mounted perpendicularly so as to resemble a vast column, and, when high were seen wheeling and twisting within their continued lines, which then resembled the coils of a gigantic serpent...As soon as the Pigeons discover a sufficiency of food to entice them to alight, they fly around in circles...During their evolutions...the dense mass which they form exhibits a beautiful appearance, as it changes its direction, now displaying a glistening sheet of azure...and anon, suddenly presenting a mass of rich deep purple...When alighted, they are seen industriously throwing up the withered leaves in quest of fallen mast. The rear ranks are continually rising, passing over the main body, and alighting in front, in such rapid succession, that the whole flock seems still on the wing. The quantity of ground thus swept is astonishing...On the ground they walk with ease, as well as on branches, frequently jerking their beautiful tails, and moving their necks backwards and forwards in the most graceful manner" (J. J. Audubon, The Birds of America, New York & Philadelphia: 1842, vol.V, pp.27-28).
As the result of hunting and the settlers' need for land, less than 5,000 birds survived at the beginning of 1898. The last record of a wild Passenger Pigeon is of a single bird that was shot in 1900 in Ohio. A few birds did survive in captivity, but by 1909 the Cincinnati Zoological Gardens had the last three remaining birds, two males and a female. By 1910 only the female was left. This last surviving bird was affectionately called Martha, after the wife of George Washington. On September 1, 1914, Martha died. This is possibly the only instance in history where we know the exact day of a species' extinction. This plate is found in two variant forms: one with the imprint line "Engraved by R.Havell, Jnr. Printed & Coloured by R. Havell, Senr. London 1829," the second (as with the present copy) reading "Engraved, Printed and Coloured by R.Havell."
J. J. Audubon, The Birds of America New York & Philadelphia: 1842, vol.V, p.25; Errol Fuller, Extinct Birds New York: 2001 p. 188; Susanne M. Low, A Guide to Audubon's Birds of America New Haven & New York: 2002, p.65 (variant 2 of 2).
#9353$29,000.00
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 AUDUBON, John James (1785-1851)
Snowy Owl [Pl. 28]
[Pl. 28]. New York & Philadelphia: J.J.Audubon and J.B.Chevalier, [1839-] 1840-1844. Hand-coloured lithograph, after J.J. Audubon. Very good condition apart from some very minor foxing in the margins. Image size (including text): 9 3/8 x 6 5/8 inches. Sheet size: 10 1/4 x 6 3/4 inches.
A fine print from the first octavo edition of "The Birds of America": one of the "most beautiful, popular, and important natural history [works] published in America..." (Ron Tyler)
Shortly after the publication of the hugely successful Havell edition of 'The Birds of America', Audubon issued the first royal octavo edition of this great work, the plates from which now represent the only realistic opportunity for collectors to own Audubon images in a form that was overseen and approved by the great artist himself. Its publication may have been inspired by the overwhelming public demand for his prints and his wish that a work similar to the original be published 'at such a price, as would enable every student or lover of nature to place it in his Library'. With its smaller plates, each of which depicts a single species, the octavo edition was certainly more accessible than the double-elephant Havell folio.
The octavo edition was a multifaceted undertaking that gave Audubon an invaluable opportunity to substantially improve and enhance the original. Above all, the octavo version allowed him to scientifically arrange his subjects by genus and species and to include several newly discovered species of Western birds. Originally issued in 100 parts, each containing five plates executed by the Philadelphia lithographer J.T. Bowen, it was sold solely by subscription and proved so successful that seven later editions were subsequently issued.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. He lived in France from 1788 to 1803, after which time he was sent to the United States to manage an estate that his father bought in Pennsylvania. In 1805, he briefly moved back to France; however, his fascination with the United States had taken root, and he returned there in May 1806. He married Lucy Bakewell in 1808, and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece 'Birds in America'
Cf. Bennett p.5; cf. Nissen IVB 51; cf. Ripley 13; cf. Ron Tyler, Audubon's Great National Work (1993) Appendix I; cf. Sabin 2364; cf. Zimmer p.22
#9681$3,200.00
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 AUDUBON, John James (1785-1851), and Joseph Bartholomew KIDD
American Goldfinch
Edinburgh, 1831. Oil on millboard, with label on verso: "R. Davy, 83 Newman St., London, colorman to artists," 18 7/8 x 11 7/8 inches. In fine condition. Framed.
An important original oil painting from the Audubon/Kidd collaboration.
This painting is a collaboration between John James Audubon and the English artist Joseph Bartholomew Kidd, whom Audubon hired to help him create a gallery of The Birds of America in oils. These paintings reproduced Audubon's images as they appeared in the double elephant folio. The two artists worked together to create ninety-four oils, according to Audubon's records. Audubon intended to create an exhibition to which he would charge admission, ultimately selling the original oils. He wrote: "I truely believe that an exhibition of these Pictures in this Country (i.e. the United States) would pay Monstrously Well!" However, by 1834 his relationship with Kidd broke down, and he sold the paintings without organizing the show he had envisioned. About forty of these oils are now recorded in institutions (Harvard, American Museum of Natural History, Princeton, National Gallery, Yale, and others), whilst others remain in private hands - including some in the possession of direct descendants of Audubon.
The present painting, the American Goldfinch, appeared as plate 33 of the double elephant folio, issued in early 1828. In Audubon's diary entry of July 29, 1831, he lists it as one of the paintings he hopes to execute with Kidd. The birds are shown in their brightest spring plumage of yellow. They are depicted on a flowering thistle plant, their favorite source of food and nesting material. The green thistles and yellow birds are set off handsomely against the bright summer sky. As usual with the Audubon/Kidd oils, it is unsigned and undated.
This painting apparently remained in the possession of the Audubon family until 1863, when Audubon's widow evidently gave it to one of her grandchildren. While the present painting is unmarked, we know that it was purchased by the Old Print Shop in New York on Oct. 6, 1950 from Mrs. John F. Carlson, along with the oil painting of the House Wren, which was inscribed: "G.R. Audubon from Mrs. J.J. Audubon, 1863." That painting is now in the Pennsylvania Academy of Fine Arts. The Old Print Shop sold the present painting to one Louise Jerecki in 1951, from whom it passed through several hands to the present owner.
#9805$195,000.00
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 AUDUBON, John James (1785-1851)
Long-Tailed Duck [Oldsquaw] [Pl. 312]
[Pl. 312]. Hand-coloured engraving with aquatint and etching by R. Havell, 1836, paper watermarked "J. Whatman / 1836". Sheet size: 25 7/8 x 39 1/4 inches.
From the first edition of "The Birds of America."
A fine image contrasting the indolence of the two drakes (one in summer and one in winter plumage) as they bask contentedly on the rocks, with the industry of the female Oldsquaw, diligently scouring the water surface for food, as her three young hurry along beside her, anxious not to stray too far from the protection she affords. One drake goes no further then opening an eye to watch the passing scene, the second raises himself from the basking position, and turns his head for a better view.
"Owing to their reiterated cries these birds are named 'Noisy Ducks;' but they have various appellations, among others those of 'Old Wives,' and 'Old Squaws.' Although like all sea-ducks, 'Old Wife' swims deeply, it moves with a grace and celerity, which, if not superior to those of any of its tribe, are at least equal; and when the weather is rough, and the waters agitated, it raises its tail in the same manner as the Ruddy Duck and Pintail. When advancing in smooth water, its speed is such as to cause a considerable swell before it, such as sea-faring persons usually call a 'bone.' Like all others of its tribe, it also prefers swimming against both wind and tide, as then it can sooner take wing if necessary. In calm and pleasant weather...it is fond of throwing its body almost over, and of pluming itself in that position" (J. J. Audubon, Birds of America, New York & Philadelphia: 1840-1844, vol. VI, p.381).
"'Long-tailed Duck,' the name applied in England to this smart looking sea duck, was the name Audubon used. Oldsquaw, the colorful North American name, derived from local lore, refers to the bird's talkative habits...Another phonetically derived name for it was 'south-southerly.' Oldsquaws are circumpolar, ranging throughout the arctic and sub-arctic regions of both the New World and the Old, resorting to tundra ponds to raise their families. In winter, except for the Great Lakes...they seem to prefer the salt water of the Atlantic and Pacific. They are easily recognized, in flight over the sea, by their white bodies and totally dark wings, the only ducks so patterned" (R. T. & V. M. Peterson, Audubon's Birds of America, London: 1981, no. 73).
Susanne M. Low, A Guide to Audubon's Birds of America, New Haven & New York: 2002, p.163.
#10635$18,000.00
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 AUDUBON, John James (1785-1851)
Barred Owl [Pl. 46]
[Pl. 46]. New York & Philadelphia: J.J.Audubon and J.B.Chevalier, [1839-] 1840-1844. Hand-coloured lithograph, after J.J. Audubon. Very good condition apart from some slight offsetting. Image size (including text): 9 x 5 inches. Sheet size: 6 5/8 x 10 1/4 inches.
A fine print from the first octavo edition of "The Birds of America": one of the "most beautiful, popular, and important natural history [works] published in America..." (Ron Tyler)
Shortly after the publication of the hugely successful Havell edition of 'The Birds of America', Audubon issued the first royal octavo edition of this great work, the plates from which now represent the only realistic opportunity for collectors to own Audubon images in a form that was overseen and approved by the great artist himself. Its publication may have been inspired by the overwhelming public demand for his prints and his wish that a work similar to the original be published 'at such a price, as would enable every student or lover of nature to place it in his Library'. With its smaller plates, each of which depicts a single species, the octavo edition was certainly more accessible than the double-elephant Havell folio.
The octavo edition was a multifaceted undertaking that gave Audubon an invaluable opportunity to substantially improve and enhance the original. Above all, the octavo version allowed him to scientifically arrange his subjects by genus and species and to include several newly discovered species of Western birds. Originally issued in 100 parts, each containing five plates executed by the Philadelphia lithographer J.T. Bowen, it was sold solely by subscription and proved so successful that seven later editions were subsequently issued.
John James Audubon was born in Les Cayes, Haiti on 26 April 1785. He lived in France from 1788 to 1803, after which time he was sent to the United States to manage an estate that his father bought in Pennsylvania. In 1805, he briefly moved back to France; however, his fascination with the United States had taken root, and he returned there in May 1806. He married Lucy Bakewell in 1808, and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece 'Birds in America'
Cf. Bennett p.5; cf. Nissen IVB 51; cf. Ripley 13; cf. Ron Tyler, Audubon's Great National Work (1993) Appendix I; cf. Sabin 2364; cf. Zimmer p.22
#11606$900.00
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 AUDUBON, John James (1785-1851)
The Cougar (Female & Young) [Pl. 97]
[Pl. 97]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 6 x 8 1/4 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the Birds of America in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The 'Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audbon wrote] "I cannot help copying nature." That is Audubon's ultimate virtue' Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12057$575.00
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 AUDUBON, John James (1785-1851)
Raccoon [Pl. 61]
[Pl. 61]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 9 x 5 1/4 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the "Birds of America" in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The "Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audubon wrote] 'I cannot help copying nature.' That is Audubon's ultimate virtue." (Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.)
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12061$650.00
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 AUDUBON, John James (1785-1851)
Common American Deer (Fawn) [Pl. 81]
[Pl. 81]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 6 x 7 1/2 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the "Birds of America" in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The "Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audubon wrote] 'I cannot help copying nature.' That is Audubon's ultimate virtue." (Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.)
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12062$650.00
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 AUDUBON, John James (1785-1851)
Red Texan Wolf [Pl. 82]
[Pl. 82]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 6 x 8 1/4 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the "Birds of America" in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The "Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audubon wrote] 'I cannot help copying nature.' That is Audubon's ultimate virtue." (Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.)
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12063$650.00
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 AUDUBON, John James (1785-1851)
Rocky Mountain Sheep [Pl. 73]
[Pl. 73]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 6 x 8 1/8 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the "Birds of America" in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The "Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audubon wrote] 'I cannot help copying nature.' That is Audubon's ultimate virtue." (Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.)
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12071$450.00
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 AUDUBON, John James (1785-1851)
Black American Wolf [Pl. 67]
[Pl. 67]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 6 x 8 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the "Birds of America" in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The "Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audubon wrote] 'I cannot help copying nature.' That is Audubon's ultimate virtue." (Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.)
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12074$300.00
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 AUDUBON, John James (1785-1851)
American Elk, Wapiti Deer [Pl. 62]
[Pl. 62]. New York: V.G. Audubon, [no date but circa 1849-1854]. Hand-coloured lithograph, after J.J. Audubon by E. Hitchcock, printed by J.T. Bowen. Very good condition apart from some slight marginal soiling. Image size (including text): 6 x 8 inches. Sheet size: 7 x 10 1/4 inches.
'The plates are to my eye most beautiful' (John Bachman). A fine image from the first octavo edition of Audubon's final great natural history work on the quadrupeds of the United States (including Texas, California and Oregon), as well as part of Mexico, the British and Russian possessions and the Arctic regions.
With the success of the octavo edition of the "Birds of America" in mind, a similar edition of the Quadrupeds was envisaged from an early stage. The folio edition was published in 30 numbers between 1845 and 1854, and publication of the first octavo edition began in 1849 and was also completed in 1854. The "Quadrupeds is a natural-history and artistic triumph. Audubon, James Bachman, John [Woodhouse Audubon], who painted fully one-half of the animals, and Victor [Audubon] and Maria Martin, who supplied many of the backgrounds, had produced truly exceptional work for the Quadrupeds.... the subscribers saw that Audubon had brought the same liveliness and sense of movement to the animals that characterized his birds... Still other viewers... realized that, just as with the Birds, the landscapes played a significant role in these compositions: they told something of the animal's habitat and provided visual interest for the viewer... [Audubon wrote] 'I cannot help copying nature.' That is Audubon's ultimate virtue." (Ron Tyler 'The Publication of The Viviparous Quadrupeds of North America' in John James Audubon in the West The Last Expedition, New York, 2000, pp.177-182.)
Bennett, p. 5; Nissen ZBI 163; Reese Stamped With A National Character 38; Wood, p. 208
#12075$575.00
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 AUDUBON, John James (1785-1851)
Blue Crane or Heron, Ardea Coerulea. 1. Adult Male spring plumage. 2. Young second Year. View near Charlestone (sic) S.C. [Little Blue Heron] [Pl. 307]
[Pl. 307]. London: R. Havell, 1837. Hand-coloured engraving with aquatint and etching by R. Havell. Watermarked "J. Whatman/1837". Image size (including text): 18 7/8 x 28 inches. Sheet size: 24 5/8 x 37 inches.
From the first edition of "The Birds of America."
A beautiful and evocative composition: the sun has risen and is already warming this fertile river landscape near Charleston. A slight hazy mist still remains to be burnt off. In the foreground an adult bird emerges cautiously from the reed bed, with quick darting steps, making its way down to the water where an immature bird has already started feeding. No wind, comfortable warmth, little if any sound: a perfect late fall day in the South Carolina low country.
Audubon describes seeing "this graceful Heron, quietly and in silence walking along the margins of the water, with an elegance and grace which can never fail to please you. Each regularly-timed step is lightly measured, while the keen eye of the bird seeks for [movement]...Then at a proper distance, it darts forth its bill with astonishing celerity...If fish is plentiful, on the shallows near the shore, when it has caught one, it immediately swallows it, and runs briskly through the water, striking here and there, and thus capturing several in succession. Two or three dashes of this sort, afford sufficient nourishment for several hours, and when the bird has obtained enough it retires to some quiet place, and remains there in an attitude of repose until its hunger returns" (J. J. Audubon, The Birds of America, New York & Philadelphia: 1840-1844, vol. V, pp.53-54).
"Scattered among the immaculate egrets are the little blue herons, dark, smoky blue-gray birds with maroon necks...During the transition from white immaturity to blue adulthood they are boldly pied with white and dark, and at New Orleans, according to Audubon, were called 'foolish egrettes,' 'on account of their unusual tameness.' Such a bird is shown in the background of this [print]...that represents a scene in the South Carolina lowcountry. This species...was greatly diminished by the turn of the century before protective laws were put in effect. By the 1920's it began to show a definite comeback and postbreeding wanderers, especially the white immature birds, were again to be seen in the northern states. Today the little blue nests father north than it was known to nest in earlier times. Breeding colonies now exist...as far north as southern Maine and the Great Lakes" (R. T. & V. M. Peterson, Audubon's Birds of America, London: 1981, no.44).
Susanne M. Low, A Guide to Audubon's Birds of America, New Haven & New York: 2002, pp.161-162.
#12120$80,000.00
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 AUDUBON, John James (1785-1851)
Columbia Jay, Male 1, F. 2 / Garrulus Ultramarinus [Black-throated Magpie-jay] [Pl. 96]
[Pl. 96]. London: R. Havell. Hand-coloured engraving with aquatint and etching by R. Havell. First variant. Condition good, apart from small area of expert restoration to upper left corner, just touching plate area but not affecting image, expertly repaired 3 inch tear from left margin into plate area, not affecting image. Sheet size: 38 1/2 x 25 5/8 inches.
From the first edition of "The Birds of America."
A beautifully composed image with the twist of the tree branch entwined with poison ivy offering a counter-balance to the strong diagonals of the two birds. The birds, full of the quick intelligent curiosity that is such a feature of their family explore their surroundings. The upper bird clasps a nut in one claw while trying to break open the shell with its strong beak. The lower bird's attention has just been caught by something below and it cranes its neck for a better look. Low lists two variants of this plate: 1. with the plate number in Arabic numerals and the scientific name given as "Garrulus ultramarinus." 2. the plate number in Roman numerals and the scientific name "Corvus bullockii."
"Were I to relate to you, good reader, the various accounts which I have heard respecting this splendid bird, I should have enough to say; but as I have resolved to confine myself entirely to the results of my own observation, I must for the present remain silent on the subject" (J. J. Audubon, The Birds of America, New York & Philadelphia: 1840-1844, vol.IV, p.105).
"The spectacular magpie jay is one of several neotropical birds that Audubon attributed to North America on the basis of specimens that purportedly came from the Columbia River. Actually this bird must have come by ship from the west coast of Mexico. The only definite sighting of this species in the U.S. was of an individual that came daily to a feeding shelf in an Arizona border town. Although it could have strayed from its Mexican home, it is thought to be an escapee from captivity" (R. T. & V. M. Peterson, Audubon's Birds of America, London: 1981, no. 284).
Susanne M. Low, A Guide to Audubon's Birds of America, New Haven & New York: 2002, p.84 (two variants).
#12474$29,500.00
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 AUDUBON, John James (1785-1851)
Say's Squirrel [Pl. 89]
[Pl. 89]. New York: J. J. Audubon, 1846. Lithograph, coloured by hand, by J. T. Bowen of Philadelphia. In excellent condition with the exception of a small crease in the bottom right corner of sheet. Tiny 1/4 inch tear on left margin outside image. Image size: 18 3/8 x 24 1/4 inches. Sheet size: 21 5/8 x 27 1/16 inches.
"As long as our civilization lasts, America will be in debt to this genius." (Roger Tory Peterson).
A fine portrait of two Say's Squirrels, from the greatest illustrated natural history work to be produced in America during the nineteenth century.
This very fine plate is from the folio edition of John James Audubon's The Viviparous Quadrupeds of North America, produced entirely in the United States. The work was to be John James Audubon's last, and by 1846 he had to hand over the drawing of the final 50 or so plates to his sons. The final parts of this work of national importance were published after his death in 1851, but the images remain as a final fitting memorial to the greatest American wildlife artist who ever lived.
The production of the Quadrupeds was begun by John James Audubon and his sons at about the same as the commercially-successful octavo edition of The Birds of America. Unlike the double-elephant folio, the Quadrupeds was produced entirely in the United States. William Reese notes that "By 1843 the Audubon family business was a well-oiled machine, involving John James, his two sons, Victor and John Woodhouse, and various in-laws and friends. The octavo Birds was still in production when J.T. Bowen began to produce the plates for the elephant folio edition of the Quadrupeds, the largest successful color plate book project of 19th-century America. It took the family five years to publish 150 plates in thirty parts. The massive project was a commercial success, thanks to the close management of Victor. There were about three hundred subscribers." (Stamped with a National Character pp.58-59)
Cf. Bennett, p. 5; cf. Reese Stamped With A National Character 36; cf. Sabin 2367; cf. Wood, p. 209
#15372$3,000.00
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 AUDUBON, John James (1785-1851)
Oregon Flying Squirrel [Pl. 15]
[Pl. 15]. New York: J.J. Audubon, 1844. Lithograph, coloured by hand, by J. T. Bowen of Philadelphia. Sheet size: 28 x 21 7/8 inches.
"As long as our civilization lasts, America will be in debt to this genius." (Roger Tory Peterson).
A fine image of the Oregon Flying Squirrel from the greatest illustrated natural history work to be produced in America during the nineteenth century.
This very fine plate is from the folio edition of John James Audubon's The Viviparous Quadrupeds of North America, produced entirely in the United States. The work was to be John James Audubon's last, and by 1846 he had to hand over the drawing of the final 50 or so plates to his sons. The final parts of this work of national importance were published after his death in 1851, but the images remain as a final fitting memorial to the greatest American wildlife artist who ever lived.
The production of the Quadrupeds was begun by John James Audubon and his sons at about | | | |
