over the river and through the wood

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William Reese Company AMERICANA RARE BOOKS LITERATURE AMERICAN ART PHOTOGRAPHY ______________________________ 409 TEMPLE STREET NEW HAVEN, CONNECTICUT 06511 (203) 789-8081 FAX (203) 865-7653 [email protected] Rare Account of Hunting in Northwest Canada, Inscribed 1. Bannon, Arthur H.: A HUNTERS SUMMER IN YUKON TERRITORY. Columbus, Oh.: F.B. Toothaker, 1911. 48pp. plus eight full-page plates from photographs. Original printed wrappers, cloth backstrip. Small tear in cloth at foot of backstrip, three small shallow chips in the foredge of the rear wrapper. Small stain on two pages, small closed tear in outer edge of final leaf, not affect- ing text. Very good. A presentation copy, inscribed on the titlepage, of a rare and engaging account of a hunting trip to northwest Canada in the summer of 1910. Ohioans Arthur Bannon and his companion, James Blair, went in over the White Pass and Yukon Railway, down the Lewis to Selkirk at the beginning of the Yukon proper, up the Pelly River to the mouth of the Macmillan, and up that river to country about 275 miles east of Selkirk. They hunted mountain sheep, black bears, grizzlies, caribou, moose, and more, assisted by a cook and guide named Grant Jennings, a veteran of the Klondike Gold Rush of 1898. Bannon relates their hunting experi- ences, and also describes their travels, the scenery, and the history of the region. “A superb hunting narrative” – Midland Notes . “This is a plain, straightforward and most interesting account of a hunting trip, mainly for mountain sheep, in Yukon Territory.... [Bannon] gives a good picture of the country through which he passed and his hunting experiences are quite absorbing” – Streeter. The Streeter copy was bound in original cloth; the present copy is in original printed wrappers. OCLC locates only six copies of Bannon’s work, at the New-York Historical So- ciety Library, Yale, the Newberry Library, the Ohioana Library Association, the University of Washington, and the University of Toronto. We are able to locate only two other copies at auction since the Streeter copy. HOWES B106. OCLC 34500872. STREETER SALE 4126. MIDLAND NOTES 60:21. $4500. Over the River and Through the Wood

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Page 1: Over the River and Through the Wood

William Reese Companyamericana • rare books • literature

american art • photography

______________________________

409 temple street new haven, connecticut 06511

(203) 789-8081 fax (203) 865-7653 [email protected]

Rare Account of Hunting in Northwest Canada, Inscribed

1. Bannon, Arthur H.: A HUNTERS SUMMER IN YUKON TERRITORY.Columbus, Oh.: F.B. Toothaker, 1911. 48pp. plus eight full-page plates from photographs. Original printed wrappers, cloth backstrip. Small tear in cloth at foot of backstrip, three small shallow chips in the foredge of the rear wrapper. Small stain on two pages, small closed tear in outer edge of final leaf, not affect-ing text. Very good.

A presentation copy, inscribed on the titlepage, of a rare and engaging account of a hunting trip to northwest Canada in the summer of 1910. Ohioans Arthur Bannon and his companion, James Blair, went in over the White Pass and Yukon Railway, down the Lewis to Selkirk at the beginning of the Yukon proper, up the Pelly River to the mouth of the Macmillan, and up that river to country about 275 miles east of Selkirk. They hunted mountain sheep, black bears, grizzlies, caribou, moose, and more, assisted by a cook and guide named Grant Jennings, a veteran of the Klondike Gold Rush of 1898. Bannon relates their hunting experi-ences, and also describes their travels, the scenery, and the history of the region.

“A superb hunting narrative” – Midland Notes. “This is a plain, straightforward and most interesting account of a hunting trip, mainly for mountain sheep, in Yukon Territory....[Bannon] gives a good picture of the country through which he passed and his hunting experiences are quite absorbing” – Streeter. The Streeter copy was bound in original cloth; the present copy is in original printed wrappers. OCLC locates only six copies of Bannon’s work, at the New-York Historical So-ciety Library, Yale, the Newberry Library, the Ohioana Library Association, the University of Washington, and the University of Toronto. We are able to locate only two other copies at auction since the Streeter copy.HOWES B106. OCLC 34500872. STREETER SALE 4126. MIDLAND NOTES 60:21. $4500.

“Over the Riverand Through the Wood”

Page 2: Over the River and Through the Wood

A Classic of American Landscape

2. Bartlett, William, and Nathaniel Parker Willis: AMERICAN SCENERY; OR, LAND, LAKE, AND RIVER ILLUSTRATIONS OF TRANSATLANTIC NATURE. FROM DRAWINGS BY W.H. BARTLETT.... London. 1840. Two volumes. [2],iv,140pp. plus sixty-six plates, frontispiece portrait, and engraved title; iv,106pp. plus fifty-two plates and engraved title. Quarto. Contemporary black morocco, gilt extra, a.e.g., silk endpapers. Minor shelf wear. Foxing to a few plates, light tanning to some leaves, more pronounced in second volume. Near fine, an elegant copy.

Bartlett’s most famous work. He visited Canada and the United States on four separate occasions, and the illustrations show many of the principal cities of North America as well as the most famous scenic vistas of the day. The majority of the views are in New York and New England, but Bartlett went as far north as the

White Mountains and as far south as Virginia. He found Niagara and the Hudson Valley most suitable for landscape. There are city views in Washington, Saratoga, Boston, New Haven, Bal-timore, Rochester, Philadelphia, and New York, among others. A very pretty copy.HOWES B209, “aa.” ABBEY 651. CLARK III:256. SABIN 3784. $1000.

Page 3: Over the River and Through the Wood

Lovely Engravings of Scenes in Canada

3. Bartlett, William, and Nathaniel Parker Willis: CANADIAN SCENERY ILLUSTRATED. FROM DRAWINGS BY W.H. BARTLETT. London. 1842. Two volumes. [4],128; [4],116pp., plus frontispiece and engraved title in each volume, and 117 engraved plates. Quarto. Contemporary green morocco, gilt extra, a.e.g. Corners bumped. Some light shelf wear. Internally clean. A very pretty, near fine copy.

First edition, first issue, with the portrait of Bartlett. Bartlett was a skilled topographical draughtsman who travelled extensively, providing the plates for a number of travelogues. Canadian Scenery is considered his finest work. Between 1836 and 1852 he visited the U.S. and Canada four times, and sketched much of what he saw. The views include Kingston, Cobourg, Ottawa River, Quebec, Toronto, Queenstown, scenes of Indians, and much more. Willis provides the text, descriptive of the plates and relating a history and the current conditions in the eastern provinces and Upper and Lower Canada in 1839-40.SABIN 3786 (ref). TPL 2424 (imperfect). LANDE 2310. $1250.

Page 4: Over the River and Through the Wood

Canoes and Boats for Western Adventure

4. [California]: [PHOTOGRAPHIC SAMPLE BOOK OF THE KING BOAT COMPANY]. [Oakland. 1927]. Twenty-eight silver gelatin photographs, each approximately 4 x 6½ inches. Each photograph backed with canvas and with a detailed typed caption on verso. Oblong octavo. Ring-bound flexible leather boards. Upper 1½-inch portion of spine and front cover chipped away. Covers rubbed, crude repairs to spine, toning and minor wear to photographs. Very good. In a cloth box.

An unusual album featuring boats and canoes manufactured by the King Boat Company of California. Many of the photographs are dated 1927, and the album serves not only as a visual catalogue of various boats available from the King Boat Company, but also as a document of water travel in Alaska, California, and the Pacific Northwest in the 1920s. The canvas backing on the first and last images bears the ink-stamped name of F.R. Frederick, a distributor based in Boston. Whether this album was prepared by Frederick or by the King Boat Company is unclear. What is clear is that these are very interesting images of various King Boat Company boats and canoes in use. Nine are identified as having been photographed by “Lewis R. Freeman, Noted Explorer and Writer for National

Geographic Magazine, on Thousand Mile Canadian Trip. Summer of 1927”; a tenth is an image of Free-man with an Arrow Boat. Freeman, a noted traveler, explorer, and writer, published over twenty books on his travels. Other images reveal “Arrow Model on Heart Lakes in the High Sierra – 11,500 Feet Elevation. Colonel H.G. Thompson at the Oars”; “Boat owned by T. Wherry, Taxidermist, Victoria, B.C. was built in 1893 and in service for over 34 years up to November 1927, on display in King Boat Company Factory, Oakland, California”; a couple images of canoes loaded on pack horses; several of Henry W. Partridge, “Noted Packer” navigating the Salmon River in Idaho; images of boats in Alaska and the Yukon; and several others of boats on shore, in use as shelters, or otherwise employed. $2500.

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Crucial Civil War Victory on the Mississippi River

5. [Civil War]; [Currier & Ives]: ADMIRAL PORTER’S FLEET RUNNING THE REBEL BLOCKADE OF THE MISSISSIPPI AT VICKSBURG, APRIL 16th 1863 [caption title]. New York: Currier & Ives, 1863. Handcolored litho-graph, 12 x 15 inches. Tiny chip in upper left corner (well away from the image). A clean, near fine copy.

A colorful and dramatic depiction of Admiral David Dixon Porter’s Mississippi River Squadron running the Confederate blockade at Vicksburg during the siege of the city by Union forces in 1863, an important strategic victory in taking con-trol of the river. Captions identify Porter’s flagship, the U.S.S. Benton, in the right foreground, leading the Lafayette and General Price, which are followed by

the Louisville, Mound City, Pittsburg, Caronde-let, Silver Wave, Forest Queen, Henry Clay, and Tuscumbia. A barrage of cannons fire from both the squadron and the Confederate batteries on the embankments overlooking the river. Union cannonballs are hitting both the batteries and the buildings on the bluffs of Vicksburg further in the background. Clouds of smoke billow from the ships, the burning buildings, and one of the floats of flammable material set out by the Confederates.

Initially Grant had asked only for a few gunboats to shield his troops, but Porter persuaded him to use more than half of the Squadron. Six nights later (April 22), they made a similar run past the batteries to give Grant the transports he needed for crossing the river. Grant first tried to attack the Rebels through Grand Gulf, south of Vicksburg, and had Porter’s gunboats eliminate the two forts there so his troops could cross. Despite intense shelling, the upper fort held; Grant called off the assault and moved downstream to Bruinsburg, where he crossed unopposed. Afterwards, Porter’s ships remained in place, securing the Mississippi and Yazoo Rivers, and guaranteeing the success of the siege. Grant was effusive in his praise Porter’s actions and for his contribution to the victory, Porter’s appointment as acting rear admiral was made permanent.

The additional printed caption describes the event thusly:

“At half past ten P.M. the boats left their moorings & steamed down the river, the Benton, Admiral Porter, taking the lead – as they approached the

point opposite the town, a terrible concentrated fire of the centre, upper and lower batteries, both water and bluff, was directed upon the channel, which here ran within one hundred yards of the shore. At the same moment innumerable floats of turpentine and other combustible materials were set ablaze. In the face of all this fire, the boats made their way with but little loss except the transport Henry Clay, which was set on fire & sunk.”

The Union victory at Vicksburg was the second major blow to the Confederacy in the spring and summer of 1863. On July 3, Lee’s invasion of the North foundered at Gettysburg, and on July 4, the U.S. flag rose over Vicksburg. This print is surprisingly uncommon in the market.CURRIER & IVES: CATALOGUE RAISONNÉ 0058. PETERS, CURRIER & IVES 1180. $1500.

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A Superb Map of the Mississippi from Collot’s Atlas

6. [Collot, Georges Henri Victor]: MAP OF THE COURSE OF THE MIS-SISSIPPI FROM THE MISSOURI AND THE COUNTRY OF THE ILLI-NOIS TO THE MOUTH OF THIS RIVER [caption title]. [Paris. 1804 (but distributed in 1826)]. Engraved map, approximately 13 x 37 inches. Old fold lines. Scattered foxing, mostly in margins and along uppermost fold. Very good. Matted.

A long and highly detailed map of the course of the Mississippi River from St. Louis to the Gulf of Mexico, from Collot’s famous and incredibly rare Voyage dans l’Amérique Septentrionale.... Collot was sent by the French government to survey the Ohio and Mississippi valleys in 1796 to gauge the military situation on the frontier on the Spanish and American sides of the river, and to determine possible secessionist sentiment among American frontiersmen. Despite numer-ous difficulties in operating as a secret agent, under suspicion by both American and Spanish officials, Collot gathered a wealth of cartographical material, as well as sounding political waters. Returning to France, he prepared his work for publication and had it printed in 1804. Unfortunately, Napoleon had just sold Louisiana and, not wishing to draw attention to the area of which he had disposed, suppressed the publication. Collot died in 1805, and the sheets of the book and atlas sat in a warehouse for the next two decades. They were then purchased by Arthus Bertrand, the leading French publisher of voyages at the time. According to Bertrand’s own testimony, he retained the original maps and plans, issued new titlepages with his imprint, and destroyed a number of sets to make it scarcer.

This map of the Mississippi is a landmark in American cartography of the early republic, and is beautifully engraved on heavy paper, as were all of the maps in the atlas. $17,500.

Clicking on any item – text or image – will take you to our websitefor easy ordering and to view any additional images.

Page 7: Over the River and Through the Wood

The First Picture of a Log Cabin

7. [Collot, Georges Henri Victor]: AN AMERICAN LOG-HOUSE [caption title]. [Paris. 1826 (i.e. 1804)]. Line engraving, approximately 10¼ x 14 inches. Matted. A few small chips and very short closed tears at edges. Numbered twice in pencil at upper left corner. Light dust soiling and dampstaining. About very good.

Plate 16 from the atlas of Collot’s famous Voyage dans l’Amérique Septentrionale..., depicting a log cabin in a forest clearing. This is considered to be the first real depiction of a classic American log cabin. Collot was sent by the French govern-ment to survey the Ohio and Mississippi valleys in 1796, to gauge the military situation on the frontier on the Spanish and American sides of the river, and to determine possible secessionist sentiment among American frontiersmen.

Despite numerous difficulties in operating as a secret agent, under suspicion by both American and Spanish officials, Collot gathered a wealth of cartographical material, as well as sounding political waters. Returning to France, he prepared his work for publication and had it printed in 1804. Unfortunately, Napoleon had just sold Louisiana and, not wishing to draw attention to the area of which he had disposed, suppressed the publication. Collot died in 1805, and the sheets of the book and atlas sat in a warehouse for the next two decades. They were then purchased by Arthus Bertrand, the leading French publisher of voyages at the time. According to Bertrand’s own testimony, he retained the original maps and plans, issued new titlepages with his imprint, and destroyed a number of sets to make it scarcer. $2000.

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A Journey into Far Northern Canada

8. Douglas, George Mellis: LANDS FORLORN. A STORY OF AN EXPEDI-TION TO HEARNE’S COPPERMINE RIVER. New York & London. 1914. xvi,285pp. plus illustrated frontispiece portrait and two folding maps. Includes 180 photographs in the text, all by the author. Original blue publisher’s cloth stamped in gilt and black. Light wear to edges of jacket, with small chips at head of spine and short separation at foot of front hinge fold. 20th-century bookplate on front pastedown. Light foxing to titlepage, otherwise internally clean. A near fine copy. In the original printed dust jacket, in very good condition.

A rare narrative of an expedition undertaken by August Sandberg, L.D. Douglas, and the author in 1911-12, down the Athabasca and Mackenzie rivers, to Great Bear Lake, Dease River, Dismal Lakes, and the Kendall River to Coppermine River. Includes “an account of the wintering at Great Bear Lake, and a second journey down the Coppermine to its mouth; descriptions of the routes (with map), natural history, Indians and Eskimos; the hunting and geological observa-tions and prospecting especially in the Copper Mountains” – Arctic Bibliography. With useful appendices containing valuable geological and topographical information.ARCTIC BIBLIOGRAPHY 4074. $1250.

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With a Watercolor of Washington, D.C.,Showing the Washington Monument After Phase One of Its Construction

9. Drayson, Henry Edwin: [ALBUM OF ORIGINAL WATERCOLOR AND PEN AND INK DRAWINGS OF SCENES IN NEWFOUNDLAND, NEW YORK STATE, NIAGARA FALLS AND THE GREAT LAKES, AND ELSE-WHERE]. [N.p.] September to November, 1857. Thirty-seven leaves, some with images on recto and verso, including thirty-eight original drawings of North American interest (eighteen pen and ink, five pencil, and fifteen watercolor or wash drawings), each with identifying caption, many of these dated. Oblong quarto, 9¼ x 12 inches. Expertly bound to style in dark green half morocco over contemporary black pebble-grained cloth-covered boards, gilt, yellow glazed endpapers. Fine.

Penciled signature of the artist’s daughter, Bertha Maud Thomas on the front flyleaf. In a modern morocco-backed cloth box, title in gilt on spine.

A valuable pictorial record of an extensive tour of North America, including views of Niagara, the Great Lakes, and the partially-built Washington Monument on the banks of the Potomac.

The sketches are all by Henry Edwin Drayson, C.E. who lived first at “High Cross, near Henfiled and Poynings” in Sussex, England, before moving to Eyeworth Lodge in the New Forest in Hampshire, England. Evidenced by his professional credentials, Drayson was a civil engineer and surveyor in Kent and the brother of Alfred Wilks Drayson, to whom Arthur Conan Doyle dedicated his book, The Captain of the Pole Star. The present sketches demonstrate the practiced hand of a profes-sional draftsman, while his watercolors of-fer charming impressions of the beauty and grandeur of the mountains and waterways of North America.

The album includes a few earlier sketches of Sussex and Wales, but the majority of the images were drawn by Drayson during a trip to the United States. Judging from the dated drawings in the album, this journey took place in 1857 from September (a drawing of Cape Race, Newfoundland is dated the Sept. 20, 1857) until about the end of November in the same year.

Drayson’s itinerary included Niagara Falls (six images, including a striking double-page view of the falls); the Great Lakes (eight images, including a vibrantly-colored view of Green Bay at sunset and an attractive image of a bay on Lake Superior); a trip down the River Hudson (three images), together with visits to Pennsylvania and New Hampshire. One particularly striking colored image (likely from Wis-consin) shows a “puma” attacking a stag in the “Winnebagoes Country.” Histori-cally, the most interesting image is probably Grayson’s view of the Washington Monument dated just before the finish of phase one of its construction in 1858, when it stood only 152 feet tall: a fine “naïve” vignette watercolor, showing the trees in full fall color, it is titled “Washington Bay from the Presidents Garden United States shewing the Washington Monument which is to be 600ft high. 1857.” $14,000.

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Dramatic Hudson River Watercolor

10. Friend, Washington F.: [THE HUDSON RIVER FROM FORT PUT-NAM]. [Fort Putnam, N.Y. ca. 1860]. Watercolor on paper, 9¾ x 12¾ inches. Laid down on modern card. Signed in lower left corner: “W F Friend.” Colors clean and fresh. In fine condition. Matted.

A fine watercolor of the Hudson River as seen from Fort Putnam, painted by Washington F. Friend. A single figure in a red coat in the foreground provides scale as well as a touch of contrast to the pre-dominant brown, blue, green, and grey tones used to portray the river and surrounding woods and hills and a partially cloudy sky. Several ships can be seen on the Hudson, and a village across the river is also depicted. In the foreground on the right side can be seen part of a brick wall, perhaps part of the fort’s fortification.

Friend (ca. 1820-1886), a painter and topographic artist who specialized in watercolors, is particularly well known for his work in the American West. “After failed business, he became an itinerant artist, sketching in Utah, California, Colorado, and Montana and painted a panorama which was exhibited in Canada and the eastern U.S.” – Falk. Following a three-year journey through the western United States and Canada, Friend displayed his work in pan-oramic form as one element in a

theatrical event which included music and recitations. The show toured in the northeast and England. Upon his return to the United States, he continued to paint and exhibit his work.

A fine mid-19th-century watercolor view of the Hudson River as seen from the West Point area.Who Was Who in American Art, 1564-1975 I, p.1202. Hughes, Artists in California, p.192. $5000.

Page 11: Over the River and Through the Wood

Early American Travels and Observations on Indians

11. Hennepin, Louis: NOUVEAU VOYAGE D’UN PAIS PLUS GRAND QUE L’EUROPE AVEC LES REFLECTIONES DES ENTERPRISES DU SIEUR DE LA SALLE, SUR LES MINES DE ST. BARBE, &c.... Utrecht. 1698. [70],389pp. plus folding map and four folding plates. 12mo. Handsome tan crushed morocco, gilt extra, leather labels, marbled endpapers, a.e.g., by Lucien Broca. A few tiny marginal paper repairs. Otherwise, internally clean. Near fine.

First edition. This edition of Hennepin’s writings is a continuation of his Nou-velle Decouverte... of the previous year. In this work he added new material drawn from contemporary sources on Indian manners and customs and various North American travels. The first eight chapters describe the adventures and murder of La Salle, while the last concern the British treatment of the Recollets after the taking of Quebec in 1629. Lengthy passages are taken from Le Clercq’s Etablisse-ment de la Foy of 1688. Despite the fact that Hennepin has been severely and justly criticized for imposture and plagiarism, his works, according to Thwaites, still stand as “invaluable contributions to the sources of American history; they deserve study, and to this day furnish rare entertainment. We can pardon much to our erratic friar, when he leaves to us such monuments as these.”

No other narratives of French exploration in the interior of North America en-joyed as wide a popularity or stimulated as much controversy and criticism among later scholars as those of Hennepin. A Recollet missionary, Father Hennepin went to New France in 1675, and in 1678 he set out with La Salle to explore the fertile basin of the Mississippi River. While La Salle turned back to raise funds to continue the voyage, Hennepin went on to ascend the river from Fort Crevecoeur (Chicago) and penetrated farther northwest into the interior than any white man to that time. He discovered St. Anthony’s Falls near the present site of Minneapolis, and provided the first eyewitness account of Niagara Falls.

The Streeter copy sold to Quaritch for $1200 in 1966.EUROPEAN AMERICANA 698/101. ARENTS 432. CHURCH 774n. HAR-RISSE 177. HOWES H417. SABIN 31351. STREETER SALE 104. STREIT II:2775. $11,000.

Page 12: Over the River and Through the Wood

Massive Panorama of Portland

12. Henrichsen, L.C.: PORTLAND OREGON FROM THE HEIGHTS WEST OF THE CITY LOOKING EAST [caption title]. Portland. 1903. Panoramic photograph comprised of fourteen silver prints, each 7 x 9 inches, for a total size of 7 x 126 inches. Quarto. Original red cloth boards, stamped in gilt. Prints attached to stiff paper mounts. First three prints bound together and attached to front pastedown; final eleven bound together, loose in binding. A bit of clouding at edges of several images, but overall very good.

A remarkable panoramic photograph showing the growing city of Portland, Oregon at the dawn of the 20th century. The panorama is composed of fourteen silver

prints, totaling more than ten feet in length, and depicts the city from the west looking east. The Willamette River runs through the center of the photographs, and Portland is shown rising up on either side, with houses, multi-story buildings, docks, warehouses, and a growing downtown. The hilly topography of the city and surrounding area is clearly demonstrated, and Mount St. Helens can be seen in the fifth panel. The photographer, L.C. Henrichsen, was born in Denmark and moved to Portland in 1861, where he had a long career as a prominent jeweler and optician. A scarce image, with OCLC locating only eight copies. A copy of this panorama sold at a Swann Galleries photography sale in 2014 for $4500 plus house premium (or net $5625). $3500.

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The Most Extraordinary Work on American Woods

13. Hough, Romeyn Beck: THE AMERICAN WOODS. EXHIBITED BY ACTUAL SPECIMENS AND WITH COPIOUS EXPLANATORY TEXT.Lowville, N.Y.: By the Author, 1910-1898-1900-1894. Volume I-V only (of four-teen). Illustrations. 387 samples of wood, each wafer-thin transverse, radial and tangential sections illustrating 129 species, window-mounted in 129 card mounts. Octavo portfolios. Text in original wrappers, samples in card mounts unbound as issued. Occasional natural cracking and warping to a few samples. Very good. Each text volume and accompanying samples within original brown cloth cover in matching original cloth slipcase, with metal catch and bosses to covers. Each contained in a brown cloth box, morocco label.

This remarkable work was the lifetime achievement of Romeyn B. Hough, who devoted himself to the study of American trees, and who is best known for his Handbook of Trees of the Northern States and Canada, long a standard reference work in American dendrology. In this much larger work Hough sought to describe the woods found in America, with a detailed description in an accompanying pamphlet, and with thin cross-sections of actual woods mounted and labeled on accompany-ing stiff cardboard mounts. Seventy-five to eighty of these actual wood samples thus accompany each part, or about four hundred separate samples in the present set of the first five volumes. This mass of samples provides a unique record of American wood types, arranged geographically. Generally each species is shown with wood cut on traverse section, radial section, and tangential section. The samples are so thin as to be easily translucent. The age of these specimens gives them tremendous importance from an ecological standpoint, as well as their great interest to students of American furniture and woodcrafts. The trees available to Hough at the time make such an endeavor impossible to contemplate today.

The present set consists of the first five volumes. The first volume is the third edition (1910); the second volume is the second edition (1898); the third volume is the second edition (1900); the fourth volume is the first edition (1894); and the fifth volume is the first edition (1894).

Hough issued his first portfolio in 1888 and his thirteenth in 1913. This was evidently all he intended to publish, since he lived for eleven years after the final portfolio appeared. In 1928, Hough’s daughter issued a final supplementary volume. All of the portfolios issued by Hough were published by him in his hometown of Lowville, New York. Portfolios cost five dollars a piece, a very high price, reflecting the great difficulty in assembling them. Since subscribers came and went over the quarter-century span of publication, and many only purchased the individual portfolios of interest to them, very few complete sets were assembled. It is sufficiently rare that Taxonomic Literature only notes six of the parts.

Parts I through IV cover New York and adjacent states, and Part V covers Florida. The remaining parts are not present here. Parts VI through X describe the Pa-cific Slope, Parts XI through XII cover the Atlantic states, and Part XIII covers southern Florida. The final part, XIV, continues with the trees of Florida.

One of the greatest American works on trees and woods, a labor of love, here in a set of the first five volumes.TAXONOMIC LITERATURE II:341. BM NATURAL HISTORY II:880 (Parts 1-8 only). SERVIES 9016 (citing all fourteen volumes). $4,500.

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A Jackson Mammoth Plate Image

14. Jackson, William H.: THE ROYAL GORGE (GRAND CANON OF THE ARKANSAS.) DENVER AND RIO GRANDE RAILWAY – THE SCENIC LINE OF AMERICA [manuscript caption title]. Denver. [ca. 1880]. Mammoth-plate albumen photograph, 22 x 17¼ inches. Jackson’s name printed on the mat. Light discoloration in the sky in the upper center portion of the image. Near fine. Matted, glazed, and framed, with calligraphic manuscript title below the photograph. Contemporary wooden presentation frame (see below).

A beautiful mammoth-plate albumen photograph by William H. Jackson of the Royal Gorge in central Colorado. Jagged cliffs rise steeply into the sky, and the track of the Denver and Rio Grande Railway comes toward us from the distance, running along the Arkansas River. Jackson used a slight time exposure in taking this image, giving the river a very fluid quality. The photograph is in a con-temporary presentation frame, inscribed with the initials of the Denver and Rio Grande Railway in the bottom panel.

This photograph was taken during Jackson’s Denver era when he did extensive work for the railroads of Colorado and was given his own personal railroad car from which he based his photographic excursions and operations. This photograph is an example of the work Jackson did for the Denver and Rio Grande Railway. Jackson (1843-1942) began his career in photography in 1858, working as a re-touching artist in a studio in Troy, New York. In the 1860s, after serving briefly in the Union Army, he worked at several studios in Vermont before moving to Omaha, Nebraska in 1867, where he established his own studio. He worked on an extensive series of views for the Union Pacific Railroad, which earned him enough notice to be recruited by Ferdinand Hayden for the U.S. Geological Survey team. With the Survey, Jackson explored and photographed vast areas of the West, including Yellowstone and parts of Colorado, Montana, Utah, and Nevada. In 1879, his work with the Survey at an end, he set up a commercial photography studio in Denver, marketing landscape photographs of the West. Jackson stayed in Denver until 1898, when he moved to Detroit.

A beautiful image by William Jackson of this Colorado scene. $7500.

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Jackson Mammoth Plate

15. Jackson, William H.: TOLTEC GORGE AND TUNNEL. (SAN JUAN MOUNTAINS.) DENVER AND RIO GRANDE RAILWAY – THE SCENIC LINE OF AMERICA [manuscript caption title]. Denver. [ca. 1880]. Mammoth-plate albumen photograph, 22 x 17¼ inches. Jackson’s name written in the negative and printed on the mat. Very light spotting, a touch of light wear at the corners. Near fine. Matted, glazed, and framed, with calligraphic manuscript title below the photograph. Contemporary wooden presentation frame (see below).

A beautiful mammoth-plate albumen photograph of the mountains of New Mexico by William H. Jackson, showing a wintry scene along the route of the Denver and Rio Grande Railway. The photograph shows the narrow Toltec Gorge in the San Juan Mountains, through which the railroad ran its line into the Toltec Tunnel. Barren, rocky cliffs rise majestically in the background, while the foreground is dominated by the icy Rio de los Pinos. Jackson appears to have used a slight time exposure in taking the photograph, giving the water and spray of the river an attractive milky quality. The photograph is in a contemporary presentation frame, inscribed with the initials of the Denver and Rio Grande Railway in the bottom panel.

This photograph was taken during Jackson’s Denver era when he did extensive work for the railroads of Colorado and was given his own personal railroad car from which he based his photographic excursions and operations. This photograph is an example of the work Jackson did for the Denver and Rio Grande Railway. Jackson (1843-1942) began his career in photography in 1858, working as a re-touching artist in a studio in Troy, New York. In the 1860s, after serving briefly in the Union Army, he worked at several studios in Vermont before moving to Omaha, Nebraska in 1867, where he established his own studio. He worked on an extensive series of views for the Union Pacific Railroad, which earned him enough notice to be recruited by Ferdinand Hayden for the U.S. Geological Survey team. With the Survey, Jackson explored and photographed vast areas of the West, including Yellowstone and parts of Colorado, Montana, Utah, and Nevada. In 1879, his work with the Survey at an end, he set up a commercial photography studio in Denver, marketing landscape photographs of the West. Jackson stayed in Denver until 1898, when he moved to Detroit.

An excellent Jackson image of a New Mexico scene. $7500.

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Interesting Images of Japan at the Turn of the 20th Century

16. [Japan]: [Photographica]: REMINISCENCES OF KYUSHU [cover title]. [Various locations in Japan. ca. 1900]. Ten leaves containing eighty photographs, each 2¼ x 3¼ inches. Oblong octavo. Contemporary black three-quarter morocco and cloth. Hinges and corners lightly worn. Bookplate on front pastedown. Light foxing, primarily to mounts and not images. Prints sharp and clear. Very good.

Eighty attractive images of turn-of-the-century Japan, as seen through a Western lens. Evidently narrating a trip in Japan, each photograph is captioned in English, usually stating location, which include Kagoshima, the Kuma River, Kumamoto, Nakatshu, Fukuoka, Nagasaki, and Isahaya. While most of the images show land-scapes and the scenery of the area, many of them include local people – at temple and shrines, in city streets, going about everyday life. Of particular interest are a photograph of a woodcutter’s hut with the family in the foreground, a fortuneteller plying his trade, a group of young men washing vegetables, a view of Suizenji Park, a Buddhist Temple, threshing rice, the sulphur springs at Nagasaki, and various scenes in native villages. A nice collection of images, with the bookplate of New Zealand photo-historian Frederic Hardwicke Knight. $2000.

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An Artist Among the Northwest Indians

17. Kane, Paul: WANDERINGS OF AN ARTIST AMONG THE INDIANS OF NORTH AMERICA FROM CANADA TO VANCOUVER’S ISLAND AND OREGON THROUGH THE HUDSON’S BAY COMPANY’S TERRI-TORY AND BACK AGAIN. London: Longman, Brown, Green, Longmans, and Roberts, 1859. xvii,[1],455,[8]pp., plus eight color plates and a partially-colored folding map. Half title. Original pebbled cloth by Edmonds and Remnants, with their binder’s ticket in the lower inner corner of the rear pastedown, boards stamped in blind, spine gilt, advertisements on pastedowns. Minor edge wear, light soiling and rubbing to boards, corners bumped. Two previous ownership signatures on half title, one small repair to verso of map. Light foxing, small faint dampstain to bottom corner of several leaves, long closed horizontal tear in upper margin of leaf M1, a few leaves in the S gathering standing proud, occasional light thumb-soiling in the outer margin. Withal, a very good copy of a book rarely found in the original cloth. In a gray silk folding box, paper label.

“The author, after four years study of art in Europe, returned to Canada filled with the determination to fulfill an early formed design of executing a series of drawings, of scenes in Indian life. To accomplish this, he traversed, almost alone, the territories of the Red River Settlement; the valley of the Saskatchewan; across the Rocky Mountains, down the Columbia River; the shores of Puget Sound, and Vancouver’s Island. The book is a transcript of his daily journal, thrown into the narrative form; and the beautiful engravings are copies of the labors of his pencil” – Field. Kane travelled west with Sir George Simpson in 1846 and extensively toured Oregon Territory in 1847, returning to Canada the following year. “Kane crossed the continent to Puget Sound in 1846, making sketches of the Indians and their encampments along the way” – Howes.

An accomplished artist, his work is now recognized as including some of the most significant illustrations of North American aboriginal life from this period. The handsome lithographic plates add luster to the book, and reflect the inspiration Kane found in the work of George Catlin; the two also met while Kane was in Europe. The map illustrates Kane’s route through the Hudson Bay territory. Copies of this work in original cloth are exceedingly uncommon.WAGNER-CAMP 332:1. GRAFF 2262. FIELD 811. HOWES K7, “b.” PEEL 212. ABBEY 663. STREETER SALE 3727. SABIN 37007. SMITH 5392. TPL 2911. TWENEY WASHINGTON 38. REESE, BEST OF THE WEST 154. $5500.

Clicking on any item – text or image – will take you to our websitefor easy ordering and to view any additional images.

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Geology and Scenery of the Southwest

18. Macomb, John N., Capt.: ...REPORT OF THE EXPLORING EXPE-DITION FROM SANTA FE, NEW MEXICO, TO THE JUNCTION OF THE GRAND AND GREEN RIVERS OF THE GREAT COLORADO OF THE WEST, IN 1859.... Washington. 1876. vii,[1],152pp. plus twenty-two plates (eleven in color), eight leaves of plate explanations, and large folding map. Quarto. Modern cloth, spine gilt. Two faint institutional ink stamps on titlepage. Text with light, even tanning, some offsetting from plates at rear of volume. Closed tear in map at bound-in edge, separations at a few cross-folds, a couple old tape repairs. Overall, a good plus copy.

The expedition under Macomb went west from Santa Fe across northern New Mexico and Arizona to the Colorado. Most of the text is given over to the geo-logical report of J.S. Newberry. Although not published until 1876 due to the Civil War, the expedition took place in 1859. Most notable are the eleven colored chromolithograph plates of scenes in northern New Mexico and Arizona, based on drawings by Newberry.HOWES M179. McGRATH, pp.121, 145. $1650.

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Travelling the Nation’s Rivers in the 1850s

19. Massey, Stephen L.: JAMES’S TRAVELER’S COMPANION. BEING A COMPLETE GUIDE THROUGH THE WESTERN STATES, TO THE GULF OF MEXICO AND THE PACIFIC, VIA THE GREAT LAKES, RIVERS, CANALS, etc..... Cincinnati: J.A. & U.P. James, 1851. vi,[9]-224pp., including several in-text illustrations and maps, plus two folding woodcut maps and two single-page maps (printed on the recto and verso of the same leaf). 16mo. Original brown cloth, elaborately stamped in blind and gilt. Spine ends and small portion of spine chipped, corners worn, minor toning to text. Overall, an unsophisticated copy in good plus condition.

A rare little guide book, accorded a “b” by Howes. The book is arranged to fol-low routes of travel for the major rivers in the United States. The first is that of the Mississippi from its source to the Gulf of Mexico, followed by routes east of Pittsburgh, along the Ohio River, the Missouri River up to Council Bluffs (with notes on the Santa Fe and Oregon Trails), the Illinois River, and on the Great Lakes. The folding maps show the Mississippi, Missouri, and Illinois rivers. There is also a map and view of Cincin-nati, a view of New Orleans, and several other small views.HOWES M383, “b.” CLARK III:358. BUCK 484. $2000.

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“...a production of unrivaled interest and beauty” – Sabin

20. Michaux, François André: THE NORTH AMERICAN SYLVA; OR A DESCRIPTION OF THE FOREST TREES OF THE UNITED STATES, CANADA, AND NOVA SCOTIA.... Philadelphia: Robert P. Smith, Publisher..., 1853. Three volumes. 156 handcolored engravings. Half title in first volume. [with:] Nuttall, Thomas: THE NORTH AMERICAN SYLVA.... Philadelphia: Robert P. Smith, Publisher..., 1853. Three volumes. 121 handcolored lithographs. Uniform slightly later green morocco stamped in gilt with botanical design on front and rear boards, spines gilt, gilt inner dentelles, a.e.g. (see below). Front board of second volume of Michaux set nearly detached, extremities lightly rubbed. A few fox marks, mostly on text leaves, with the plates generally clean and brightly colored. Overall a very good set, in uniform contemporary bindings. In two cloth cases with separate chemises for each volume, leather labels.

An early issue of Michaux and Nuttall’s classic work of American natural history. Originally published as separate works, these titles merged into a regularly pro-duced combined work of six volumes beginning in 1851. The Nuttall appears to have the same collation as the first edition of 1842-49. The Michaux has virtually the same collation as the 1850/51 and 1852 issues which precede it. The beautiful color plates were printed in Paris, many after Redouté. The Nuttall contains 121 plates, as in the first issue of 1842/46/49. The Michaux contains 156 color plates, as called for on the titlepage, six more plates than in previous issues.

This publication is the most important work relating to American trees prior to the 20th century. It is the product of the efforts of two of the greatest naturalists to work in 19th-century America, François André Michaux and Thomas Nuttall. The beautifully executed plates illustrate leaves and nuts or berries of American trees across the entire continent. Sabin says of the work, “It is no exaggeration to remark that it is the most complete work of its kind, and is a production of unrivalled interest and beauty.” Michaux’s work is based on his extensive travels in the eastern half of America, and those of his father, from the 1790s on. Both men were friendly with Jefferson and other leading figures, who aided them in their work and travels. The plates were executed by the great French flower painter, Redouté, and his associate, Bessa. The sheets of the first effort at re-printing the work were destroyed by fire, but the copper plates were separately stored and thus survived to be employed in a later combined edition issued by Rice and Hart of Philadelphia

Thomas Nuttall was one of the most intrepid American naturalists of his day, travelling extensively in the Mississippi Valley and the Far West in the 1820s and ‘30s to gather botanical specimens. His work, designed to supplement that of Michaux, covers eastern species overlooked by the Frenchman, and new species Nuttall had gathered in the Midwest and West. His work was first published in Philadelphia in 1842-49. The more up-to-date method of using colored litho-graphs for the plates was employed in the Nuttall volumes, since the publisher did not have engraved plates in stock, as was the case with the Michaux work.

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This set is attractively bound in a uniform green morocco presentation bind-ing, with gilt ornaments, tooling, and botanical designs. The front board of each volume is also stamped in gilt: “Caleb S. Hallowell, to his brother James S. Hallowell. 1st. Mo. 31st. 1870” [i.e. January 31, 1870]. Caleb S. Hallowell (January 10, 1818 - February 7, 1870) born in Cheltenham, Pennsylvania, was a Quaker and an educator. From 1842 to 1846 he and his brother, James S. Hal-lowell (1821-1886), were principals of the well-regarded Alexandria Boarding School, which was founded by their uncle, Benjamin Hallowell, who also founded the Alexandria Female Seminary. The reason that Caleb Hallowell had this set beautifully bound and presented to his brother a week before Caleb’s own death is unknown; however, a letter from Caleb to James in 1843 attests to their mutual interest in books, and in natural history specimens, an interest which apparently lasted to the end of Caleb’s life. Each volume in this set carries a further pencil presentation inscription on a front free endpaper from James Hallowell’s wife, Margaret, to their daughter, Florence, giving the set to Florence two years after her father’s death.

A handsome set, in a lovely presentation binding, of a classic of American natural history.BENNETT, p.76 (ref). MEISEL III, pp.379-81, 437. SABIN 48695, 56351. OAK SPRING SYLVA 20 (ref). Graustein, Thomas Nuttall (Cambridge, 1967). TAXONOMIC LITERATURE 5966, 6930. MacPHAIL, ANDRÉ AND FRAN-ÇOIS ANDRÉ MICHAUX 6d, 24c. Savage, André and François André Michaux(Charlottesville, 1986). $12,000.

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The Natural and Built Landscapes of Minnesota

21. [Minnesota Photographica]: [GROUP OF EIGHT STEREOVIEWS OF LATE 19th-CENTURY MINNESOTA]. Minneapolis, St. Paul, or Duluth, Mn. [ca. 1880]. Eight stereoviews mounted on studio cards. Mild abrasions, edge wear, and some staining. Overall very good.

An attractive group of late 19th-century stereoviews capturing the natural and architectural landscape of Minnesota around 1880. The views include several in

the “Dalles” of the St. Croix or St. Louis River, an elevated view of the “Falls of St. Anthony,” an up-close shot of frozen vegetation titled, “Home of the Frost King,” and a street view of St. Paul. Identified photographers or studios include Michael Nowack, Paul B. Gaylord, Charles A. Zimmerman, Whitney’s Gallery, and the combined studio of the latter two artists, Whitney & Zimmerman. $400.

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Art by Moran, Colors by Prang

22. Moran, Thomas: [Prang, Louis]: [THE CLIFFS OF GREEN RIVER].[New York: James Sutton & Co., 1874]. Oil chromolithograph on heavy board, 10¾ x 15½ inches, with facsimile of original label on the verso reading: “Aldine Chromo for 1874.” Minor soiling, slightly darkened. Very good. Framed.

A striking chromolithograph of the Cliffs of Green River, Wyoming Territory, made to exactly replicate an oil painting by Thomas Moran and constituting the earliest example of chromolithography produced after Moran’s work. This is among the earliest western publications of Moran, preceding his work for Hayden’s famed Yellowstone Park portfolio by two years, and was produced by the same chromolithographer, Louis Prang – the greatest color printer of his day.

This chromolithograph was originally issued as one of a pair, along with another titled, The White Mountains – New Hampshire. The origin of these print has been little known, but they were produced as a free gift for subscribers to an art periodical called The Aldine, published by James Sutton & Company of New York. The journal touted the gift thusly: “Every subscriber to The Aldine for the year 1874 will receive a pair of chromos. The original pictures were painted in oil for the publishers of The Aldine by Thomas Mo-ran....The subjects were chosen to represent ‘The East’ and ‘The West.’ One is a view in the White Mountains, New Hampshire; the other gives the Cliffs of Green River, Wyoming Territory. The difference in the nature of the scenes themselves is a pleasing contrast, and affords a good display of the artist’s scope and coloring. The chromos are each worked from thirty distinct plates, and are in size and appearance exact facsimi-les of the originals.” In the same notice to The Aldine subscribers, Moran is quoted as approving of the work, writing that “I am delighted with the proofs in color of your chromos. They are wonderfully successful representations by mechanical processes of the original paintings” (both quoted in Kinsey). Records show that Moran apparently planned a “North” view as well for the Aldine series, showing a Lake Superior scene, but it was never published.

According to the label on the verso of the Green River print (a facsimile of the original label), “Green River is in Wyoming Territory. It is the main branch of the Colorado River, and the scene of Mr. Moran’s picture is laid in the heart of the Great American Desert directly on the line of the Union Pacific Railroad. The colors as seen in Nature have been faithfully rendered by Mr. Moran, and are characteristic of the country, where Nature seems to delight in novel effects. Notwithstanding its brilliancy, it is highly artistic in form and color, and not at all exaggerated.”

A lovely and iconic Western American scene, showcasing the work of one of America’s greatest landscape artists, and produced in a native American art form by the foremost color printer of his day.Joni L. Kinsey, Thomas Moran’s West: Chromolithography, High Art, and Popular Taste (Lawrence, Ks., 2006), pp.68-70. $3000.

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Before Pike’s Peak, the Headwaters of the Mississippi:Extremely Rare Work by Pike

23. Pike, Zebulon M.: AN ACCOUNT OF A VOYAGE UP THE MISSIS-SIPPI RIVER, FROM ST. LOUIS TO ITS SOURCE; MADE UNDER THE ORDERS OF THE WAR DEPARTMENT, BY LIEUT. PIKE, OF THE UNITED STATES ARMY, IN THE YEARS 1805 AND 1806. COMPILED FROM MR. PIKE’S JOURNAL. [Washington. 1807]. 68pp. (pp.65-68 in fac-simile) and folding map. Modern three-quarter diced calf and marbled boards, spine gilt. Last two leaves of text in expert facsimile. Ex-Library of Congress, with their perforated stamp on the titlepage. Light scattered foxing. Map with scattered foxing and light toning in places. Still a decent copy overall.

One of the rarest works of western exploration, this publication precedes the author’s better-known volume by three years. Only a few copies are known and not all of them are accompanied by the map, which illustrates the Mississippi from St. Louis north to its presumed headwaters. The journal describes Pike’s attempts to locate the headwaters of the Mississippi. His notable work on this expedition led to his appointment as leader of the western expedition several years later. A manuscript copy of this work in the Library of Congress is in the hand of Nicholas King, and the text was assembled by King from Pike’s notes. The report was meant to be distributed to Congress before they adjourned in March 1807,

but the publication was not completed in time. Jefferson ordered it sent to some members of Congress and others, and personally forwarded a copy to the American Philosophical Society. All bibliographers agree on the tremendous rarity of this work. This firm sold a perfect copy of this work for $30,000 in 2006.WAGNER-CAMP 6a. GRAFF 3289. HOWES P372, “d.” STREETER SALE 1774. SABIN 62835. SHAW & SHOEMAKER 13393. REESE, BEST OF THE WEST 32 (note). $7500.

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The Cohoes Falls on the Mohawk River, by Governor Pownall

24. Pownall, Thomas: A VIEW OF THE GREAT COHOES FALLS ON THE MOHAWK RIVER, THE FALL ABOUT SEVENTY FEET; THE RIVER NEAR A QUARTER MILE BROAD. London. 1768. Mezzotint engraving, 36 x 53 cm. A very good, clean impression.

This handsome view of one of the most famous sights in colonial America was originally drawn by Gov. Thomas Pownall, the enlightened British administrator who served in the American colonies in the 1750s and ‘60s. It was part of Pownall’s larger project to create or commission a series of views in the British dominions in America from Quebec to the Caribbean, issued in parts in the 1760s and col-

lectively in 1768 as Scenographia Americana, with a total of twenty-eight plates. Only a few complete sets are known, and the plates generally appear singly, as here.

This view was drawn by Pownall on one of his trips while governor of Pennsyl-vania and New York, probably about 1759. The Cohoes Falls on the Mohawk, now submerged beneath the water behind a dam, was a famous natural phenom-enon in America, on the edge of what was then wilderness and before the more spectacular Niagara was reachable by anyone but fur traders. Pownall’s view, taken from downstream looking up at the falls, captures the untamed wildness of the scene in a dramatic way. This is rare, as are all of the Scenographia... views.DEÁK, PICTURING AMERICA 106 (for a list of views in Scenographia Ameri-cana). REESE & OSBORN, STRUGGLE FOR NORTH AMERICA 74 (ref). $8500.

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A Wonderful View of Fort Randall on the Missouri River, 1859

25. [Schonborn, Anton]: FORT RANDALL, N.T. [manuscript title]. Fort Randall, Nebraska Territory. 1859. Watercolor, pen, and ink on a sheet of very lightly-ruled paper, 12¼ x 14¼ inches. Captioned in ink in upper margin, dated in lower margin. Several small chips in the outer margin, not affecting the image. Central vertical fold. Several closed tears, expertly mended on verso. The colors are bright and vibrant. In very good condition overall. Matted.

An outstanding depiction of Fort Randall in Nebraska Territory in 1859, painted by the talented German-American artist, Anton Schonborn (d. 1871), while he was touring the area as part of the Yellowstone Expedition of 1859, commanded by Captain Wil-liam F. Raynolds. The fort was located on the Missouri River, in an area of Nebraska Territory that is just north of the boundary into present-day South Dakota. Schonborn’s watercolor is a rare, attractive, and important view of this significant western outpost.

The Raynolds Expedition was authorized in April, 1859, and its mission was to explore the area along the Yellowstone River and its tributaries. The party was to ascertain information regarding the Indians dwelling in the region, gauge the agricul-tural and mineral resources of the area, study its topographical features, and report on its suitability for possible railroad routes and military outposts, and as a route for emigrants. Anton Schonborn was the artist and meteorologist on the expedition. The Raynolds Expedition departed St. Louis in late May, 1859 (which likely explains the inked date at the bottom of this scene), and arrived at Fort Randall on the Missouri River on June 13th. Schonborn may well have preceded the main party, and so spent time waiting at the fort, allowing him to create this fine watercolor. The fort, under the command of Captain C.S. Lovell, was garrisoned by four companies of the 2d Infantry. The Raynolds party, when it arrived, spent a day at Fort Randall before proceeding further up the river.

Fort Randall was established on June 26, 1856 to provide protection to settlers and explorers along the Missouri River, in Nebraska Territory. The post also deterred white explorers from trespassing on

Indian reservations, and was an Army supply depot for the upper Missouri River. The site for Fort Randall was selected by Gen. William S. Harney, and was named for Col. Daniel Randall, Deputy Paymaster General of the Army. Construction of the fort began in August 1856 and consisted of twenty-four buildings, hous-ing 500 soldiers. The fort protected lands between the Platte River in central Nebraska and Missouri River to the north – and the area’s fur traders – as well as escorting wagon trains of settlers and explorers across the plains. At the time the Raynolds expedition visited Fort Randall, it was the northernmost United States fort on the Missouri River.

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Schonborn’s watercolor is unsigned, though clearly his work, given the style of the image, the German script of the captions, and the time and place at which it was executed. The bird’s-eye view from the other side of the Missouri River shows that the fort had grown substantially in the three years since its construc-tion. More than three dozen buildings are shown, as well as several other smaller structures. Several of the buildings are identified in manuscript, including the hospital, guard house, quartermaster’s stores, and the house of the fort’s trader, or sutler. All of these buildings are shown on the periphery of the camp, the main part of which is made up of a series of large buildings (with smaller build-ings just outside) forming a long rectangular shape surrounding a flagpole with a fully-colored American flag at full staff. Several of these dwellings are identified with the names of soldiers (almost certainly officers), including Lee, Hendershott, Lord, Lyon, Drake, Davidson, Crawford, Wessells, Long, and Gardner. A row of trees along the Missouri obscures several smaller buildings, and a steamboat is shown on the river. The name of the boat appears to be “Mink,” and a steam-boat by that name is known to have plied the waters of the Missouri at that time. Possibly it was the boat that brought Schonborn upriver.

Anton Schonborn was one of the most impressive topographic artists to work the American western frontier. His first known work was with the Raynolds Yellow-stone expedition in 1859, and his last in 1870. He committed suicide in Omaha in 1871. Of his relatively few known works, most are western military posts, made while on inspection tours with top military commanders such as Raynolds (a general after the Civil War), and William Tecumseh Sherman. “Schonborn left invaluable pictorial and social-historic documents of military posts” – Tren-ton and Hassrick. His pictures involve “no rearrangement of elements...They reflect concern for detail and precision...The use of watercolor wash is subdued and is applied with a skillful tonality...Their charm lies in their directness and immediacy” – Stenzel. Finally, in the official report of the Raynolds Expedition, published in 1868, there is a brief report by First Lieutenant John Mullins, who

was a member of the Raynolds party. Mullins praised Schonborn for his efforts in gathering meteorological data and, with regard to Schonborn’s art, wrote that “his life-like views of the country speak for themselves.”

The Archives of American Art, Smithsonian Institution, locates a total of fourteen works of art by Schonborn. Our more recent census finds twenty-seven pieces. Fifteen of those works are in the permanent collections of three institutions: Amon Carter Museum (Fort Worth, Texas), Buffalo Bill Historical Center (Cody, Wyoming), and Beinecke Library at Yale University. Within those collections are eleven scenes in the Wyoming Territory, including views of Fort Laramie. The great collector of Western Americana, William Robertson Coe, donated his Schonborn pictures to Yale more than fifty years ago, while the Schonborn watercolors at the Amon Carter Museum were purchased in a single portfolio in the 1960s. The Schonborns owned by the Buffalo Bill Museum were purchased at auction in 1991. This firm handled two very fine Schonborn watercolors of Fort Laramie and Laramie Peak in the late 1990s. Aside from a group of four rather ordinary Schonborn watercolors of Kansas that sold in 2007, those are the only other Schonborns we know of on the market since 1991.

An outstanding and beautifully rendered watercolor of an important Western fort on the eve of the Civil War.AMON CARTER MUSEUM OF WESTERN ART. CATALOG OF THE COL-LECTION 1972 (Fort Worth, 1972), see figures 457-467. Franz Stenzel, Anton Schonborn Western Forts (Fort Worth, 1972), passim. A CATALOGUE OF MANU-SCRIPTS IN THE COLLECTION OF WESTERN AMERICANA FOUNDED BY WILLIAM ROBERTSON COE, YALE UNIVERSITY (New Haven, 1952), p.215. Patricia Trenton & Peter Hassrick, The Rocky Mountains – A Vision for Artists in the 19th Century (Norman, 1983), pp.110,112,133. Phillip E. Chappell, “Listing of Steamboats Operating on the Missouri River,” from Chappell’s History of Steamboating on the Missouri River: http://www.kchsoc.org/cultural/boatinfo/steamboating_onmissouririver_encrypted.pdf $80,000.

Clicking on any item – text or image – will take you to our websitefor easy ordering and to view any additional images.

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Growing Seattle and Wild Alaska, in Lovely Photogravures

26. [Seattle Photographica]: [Alaska Photographica]: ART WORK OF SE-ATTLE AND ALASKA. Racine, Wi.: W.D. Harney Photogravure Co., 1907. Nine parts, each bound separately and uniformly, complete with titlepage in first volume. 26pp. of text printed rectos only, and eighty photogravure plates. Folio. Publisher’s rosewood cloth backstrip and burgundy wrappers, front covers gilt. Mild fraying to spine cloth, some wear, mild chipping and light soiling to covers. Top corner of first few leaves of first volume creased. Internally clean. Overall very good.

A substantial production providing a rich photographic tapestry of the Pacific Northwest and Alaska in the early 20th century. Each volume contains nine pho-togravure plates (with only eight in the eighth volume), most full-page but some with more than one image per plate. Each part contains two or three text leaves printed rectos only. Altogether, the work is comprised of eighty photogravure plates with tissue guards containing over 100 distinct photographic images.

Numerous photogravures depict indigenous Eskimos and other people, along with stunning views of rivers, mountains, mining, agriculture, landscapes, dogsled teams, totem poles, ships, and various aspects of life in the Pacific Northwest. Highlights include the “Largest Fir in Washington,” “Bird’s-Eye of Nome, Alaska,” “An Arctic Musher,” and the “Eskimo Salmon Dance.” The photogravures were taken by a number of prominent western photographers, including Frank H. Nowell, W.P. Romans, Thomas W. Tolman, Wylie T. Dennison, and Asahel Curtis (estranged brother of Edward S. Curtis). The gravures are printed in sepia, blue, or green tints, and retain their clarity and power more than a century after their printing.

“A magnificent work, relating mostly to Alaska, with many fine full-page tinted plates” – Decker. “Contains fine plates of scenery in Seattle and Alaska” – Soliday.DECKER 26:6. SOLIDAY I:1032. WICKERSHAM 412. $950.

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A Rare Lithographed Editionof Vischer’s Work on the Giant Sequoias of California

27. Vischer, Edward: VISCHER’S VIEWS OF CALIFORNIA. THE MAM-MOTH TREE GROVE, CALAVERAS COUNTY, CALIFORNIA. AND ITS AVENUES. San Francisco: Drawn and published by Edward Vischer [lithographed by Kuchel, printed by Nagel], 1862. 4pp. text, plus additional leaf listing infor-mation for plates X, XI, and XII, letterpress index mounted on rear pastedown as issued. Lithographed title on card (repeated and mounted on front pastedown as issued), twelve lithographed plates on card containing twenty-five mounted lithographed illustrations. Small folio. Contents loose as issued. Original blue cloth portfolio with a small metal binder’s label attached to the rear board read-ing: “Buswell & Co. SF.” Binding straps perished, minor wear and light soiling to boards. Pastedowns and one text leaf toned, other text leaves edgeworn, scat-

tered foxing, early 20th-century bookplate on rear endpaper. Overall, very good.

The first edition, second issue of Edward Visch-er’s great work on the Mammoth Grove trees of California. Vischer migrated from Germany to Mexico at the age of nineteen and worked with the commercial house of Heinrich Virmond. Dispatched to California in 1842, he became enamored of the area and returned to San Fran-cisco in 1847, working as a merchant and agent for foreign companies during the Gold Rush. A talented amateur artist, Vischer began to sketch the California scenery he encountered. “In 1861 he visited the Calaveras Big Trees....In 1862 he published a portfolio of a dozen lithographed plates of sketches made on his trip” – Peters. This would be his first published work. Apparently unsatisfied with the way lithography captured his original drawings, Vischer republished the work with albumen photographs of them. Both versions are very rare.

Currey & Kruska cite three issues of the litho-graphed version; the present example is their second issue, with the lithographed title plate reading “...9 Plates With 22 Engravings” but consisting of twelve plates with twenty-five en-gravings. This is, effectively, a transitional state between Currey & Kruska’s first and third issues, with the full complement of plates and engrav-ings of the third issue and with the extra leaf of text containing the description of the additional plates, but with the first issue of the lithographed title plate (repeated and mounted on front paste-down as issued).

The cloth portfolio on this copy is intriguing as well. Usually issued in a brown cloth portfolio with gilt titles on the upper cover, this copy of Vischer is housed in a simple blue cloth binding produced by Buswell & Co., an early San Francisco bookbinder. Alexander Buswell was active in San Francisco from about 1856 until 1905, when his bindery was likely destroyed by the 1906 San Francisco fire. Obviously produced specifically for this work, with the correct lithographed plates mounted to the endpapers, the reason for the different binding on this copy from others we have seen escapes us at present. The bookplate on the rear endpaper belongs to George Cary; the most prominent George Cary was a major architect from Buffalo, New York, most widely known for his designs for the Pan American Exposition of 1901.

An excellent example of Vischer’s great lithographed work on Mammoth Grove.COWAN, p.662. CURREY & KRUSKA 376 (second issue). FARQUHAR 5. HOWES V132, “b.” STREETER SALE 2877. PETERS, CALIFORNIA ON STONE, pp.198-202. $17,500.

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From The hudson RiveR PoRT Folio

28. Wall, William Guy, and John Hill [engraver]: VIEW NEAR FORT MONTGOMERY. No. 18 OF The hudson RiveR PoRT Folio. New York: Henry J. Megarey, [1822]. Aquatint, colored by hand, by John Hill, after W.G. Wall. Sheet size: 18½ x 24 inches. Very good.

A superb example of one of the greatest and earliest works devoted to the American landscape. Wall and Hill demonstrate in this view their great talent for invest-ing apparently simple and random scenes with grandeur and intrigue. The focal point of the image is an unadorned raft with a number of men shown from so far away that there are no distinguishing individual characteristics: they are mere figures floating down the calm, mirror-like river. The hills that slope down into

the river are reflected to such a degree that it is difficult to discern exactly where the hills stop and the reflection begins. The succession of hills and the river recede into the distance beneath a grey sky, also reflected in the river. The hills, river, and sky seem to have a quiet liveliness of quite a different order than that of the active little figures on the raft.

“The Hudson River Portfolio, a series of twenty views...celebrates the beauty of the Hudson and its surroundings. It is amongst the fin-est collections of New York State views ever published....The aquatints show us the region of the Hudson’s headwaters, the rapids it cre-ates on its journey downstream, the bridges it makes imperative overhead, the trade that its navigability spawns, and, most of all, the ennobling topographic settings through which it passes. In the final view, New York from Governor’s Island, we see the Hudson at the end of its journey, where it joins the East River in New York Bay....William Guy Wall...was a native of Dublin who came to America in 1818....Beginning in 1826, he exhibited fre-quently at the National Academy of Design....[He was skillful with atmospheric perspective in his landscapes, and he created almost spiri-tual effects with light, at a time when viewers were used to literal depictions. Between 1828 and 1835 he remained in America, but then returned to Dublin for twenty years. He came back to America for four years between 1856 and 1860, before again returning to Ireland where he lived for the remaining four years

of his life.] Wall frequently worked in tandem with John Hill, whose emigration from England predated that of Wall by two years....According to Koke, ‘the artis-tic achievement for which Hill is best known...was the Hudson River Port Folio, a landscape series closely akin to the Picturesque Views of American Scenery recently finished for the Careys’ (John Hill Master Of Aquatint, p.86)....Hill, an aquatintist virtually without peer in America, was called in to fill the place vacated by John Rubens Smith, who dissociated himself from the Port Folio before he finished engraving the four plates of the first number....Hill belonged to a small group of English-trained engravers who raised the level of American print-making to an extraordinary degree” – Deák (pp.217-18). Second state of three (with number “18” added in manuscript to title).DEÁK, PICTURING AMERICA 320. KOKE, CHECKLIST OF THE AMERICAN ENGRAVINGS OF JOHN HILL 82. REESE, STAMPED WITH A NATIONAL CHARACTER 6. $6000.

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Beautiful Photogravures of the Pacific Northwest

29. [Washington Photographica]: ART WORK OF THE STATE OF WASH-INGTON. Oshkosh, Wi.: Art Photogravure Co., 1900. Twelve parts, each bound separately. Profusely illustrated. Folio. Original crimson stiff patterned wrappers, gilt. Minor rubbing, few creases to front cover of first volume. Very good.

A beautiful set of the “Art Work” series for Washington, profusely illustrated with over 100 photogravures of scenery of the Evergreen State. Although most issues of this series focus on the developing urbanity of the cities and towns they

portray, the Washington set depicts mainly but not exclusively natural scenes. A sampling from the first part shows Cape Horn of the Columbia River; Chelan Falls; Copper Lake, Monte Cristo; Puget Sound; Canyon Falls at Index; and the gorge below Snoqualmie Falls. Still, elevated city views depicting New Whatcom, Olympia, Fairhaven, Spokane, and Tacoma provide an important snapshot of the state’s urban development at the time. A rare photographic record of Washington state at the turn of the 20th century, difficult to obtain in all twelve parts.SOLIDAY II:1069. $675.

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Urbanization Among the Beauty of Puget Sound

30. [Washington Photographica]: ART WORK OF TACOMA AND VICIN-ITY WASHINGTON. Racine, Wi.: W.D. Harney Photogravure Co., 1907. Nine parts, each bound separately and uniformly, complete with titlepage in first volume. 27pp. of text printed rectos only, and eighty-one photogravure plates. Folio. Publisher’s rosewood cloth backstrip and burgundy wrappers, front cov-ers gilt. Minor fraying to spine cloth, some wear, discoloration, mild chipping, creasing, and soiling to covers. Contents of second volume loosely laid into the wrappers. Minor occasional toning. Very good overall.

A complete set of the scarce “Art Work” series for Tacoma, Washington. Each volume contains between eight and ten photogravure plates, most full-page but some with more than one image per plate. Each part contains three text leaves printed rectos only, and altogether, the work is comprised of eighty-one pho-togravure plates (with tissue guards) containing over 100 distinct photographic images. The photogravures depict stunning views of rivers, mountains, mammoth tree forests, parks, landscapes, architecture, street scenes and city views, lumber mills and logging scenes, among other aspects of life in the Pacific Northwest. Highlights include “Panorama of South Tacoma,” “Loading Lumber at Tacoma Mill Wharf,” “On North Yakima Avenue,” “Vashon College on Vashon Island,” and “Log Drive on White River.” Sadly, the photographers are not credited in this publication.

A wonderful collection of early 20th-century Tacoma photography. $850.

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