[Holland: seventeenth century]. Folio. (12 1/2 x 8 inches). 48 watercolours of tulips on vellum, interleaved with plain paper with horn and crown... More

[Holland: seventeenth century]. Folio. (12 1/2 x 8 inches). 48 watercolours of tulips on vellum, interleaved with plain paper with horn and crown watermark, each watercolour titled in ink below image, the first watercolour signed "Grein" at the lower right. Contemporary vellum over pasteboard, contained in a modern dark green morocco box, the covers with gilt-ruled borders, the spine in six compartments with raised bands, lettered in the second, the others with elaborate repeat pattern made up from flower-sprays and various small tools. A spectacular album containing finely-executed images on vellum of all the greatest 17th century varieties of tulips: a landmark in the history of botanical art in the Low Countries, and a unique record of the bulbs that inspired the speculative financial-madness called Tulipomania. The tulip, introduced to Europe in the middle of the sixteenth century from the Ottoman Empire, experienced a strong growth in popularity boosted by competition among the wealthy for possession of the rarest varieties. The tulip rapidly became a coveted luxury item, appearing in main-stream art as a symbol of wealth and as a decorative motif on ceramics and textiles. Special varieties were given exotic names or named after popular figures of the time: generals, admirals, etc. The most spectacular and highly sought-after tulips were the so-called "broken" varieties. These had two or more vivid colours: often a base colour of white or cream with red lines, or flames to the petals. The present album is devoted exclusively to these most expensive varieties. Tulipomania eventually reached a level where fantastic, unsustainable prices were being paid for individual bulbs. In 1637, the bubble burst and the over-heated market collapsed. For some years after this, the tulip's popularity remained at a low level but by the time the present album was produced its unique beauty was beginning once again to be appreciated. Tulip albums were produced for two principle reasons. First, as a selling tool for the bulb dealers: accurate images of what the bulbs they were offering were going to look like were obviously vital and the high prices of the tulipomania era set a precedent of employing artists of a very high quality to record the colours and details of the bulbs. These albums are almost exclusively made up of drawings on paper. One of the best known examples of this type of album is probably the 1637 tulip book of P. Cos, a nurseryman from Haarlem, Holland (now in the collection of the Wageningen Universiteit en Researchcentrum). Second, albums were produced as a collective record of the ephemeral beauty of the blooms grown by individuals, either professional growers or wealthy amateurs. The present album probably falls into this latter category: the original presentation of this album is on a much more luxurious scale than trade albums. The most obvious sign of this is the fact that each of the drawings is on vellum. Vellum, especially the prepared vellum used for the present album, was an expensive luxury material and an indicator that the drawings were commissioned by a wealthy individual (in France, for instance, King Louis XIV had all his botanical drawings executed on vellum: the so-called "velins du Roi"). Tulip albums, whatever their origin, are now very rare: according to Sam Segal (a world-renowned expert on tulips and the author of "Tulips in Visual Art",) there are now only about 50 of these albums extant. This includes albums with drawings on paper and also 18th century albums; thus, the actual number of seventeenth century albums with drawings on vellum is almost certainly no more than a handful. Most albums are in institutional collections, so the present album may well be the final example offered on the open market. Sam Segal offered the following information about the present album: the artist "Grein" is an unrecorded artist, but his name "is a Dutch name known since the early seventeenth century." The paper used for the interleaves is watermarked with a horn and crown, similar to paper known to have been made in Amsterdam and Leiden from 1665. The tulip types are from this period as well, before a relative great change in form and size during the eighteenth century. The flowers themselves carry names that "are known from the 1630s and 1640s, the period of and directly after the tulipomania ...they include the very expensive types of that period, like the 'Semper Augustus' and 'Viceroy.' As in many tulip books meant as a catalogue of a seller of bulbs, the illustrations show many related types. That might mean that they are tulips from one nursery or one collection from which the owner gave an order to the artist to paint his collection. The names of some of the tulips could point to a possible commissioner of the album, like 'General Doriszlav' and 'Grootvorst van Moscovicz.'" Dash,Tulipomania , London, 1999; Goldgar,Tulipomania , Chicago, 2007; Pavord,The Tulip,London, 1999; van der Goes (editor) Tulipomanie, Zwolle/Dresden, 2004; Wijnands,Tulips portrayed, Wageningen, 1987. Less

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Philadelphia: B. Franklin and D. Hall, 1755.. Folding handcolored engraved map by James Turner after Lewis Evans. Quarto. Full tan polished tree... More

Philadelphia: B. Franklin and D. Hall, 1755.. Folding handcolored engraved map by James Turner after Lewis Evans. Quarto. Full tan polished tree calf by Riviere, covers with a gilt roll tool border, spine in six compartments with raised bands, red morocco label in the second compartment, the others with an overall repeat decoration in gilt, marbled endpapers, a.e.g. Map backed on linen. Very good. One of the most important maps of the British colonies done prior to Independence, a landmark in American cartography and an important Franklin printing. Lewis Evans' map, titled "A General Map of the Middle British Colonies in America," shows the east coast of North America from Montreal and New England to the northern border of North Carolina, and also includes the Ohio valley in the west. The Evans map appeared in 1755, the same year as John Mitchell's famous map, with Evans drawing from his original surveys and Fry and Jefferson's 1753 map of Virginia. Evans' map acknowledges French claims to all lands northwest of St. Lawrence Fort, resulting in criticism from New York, notably the New York Mercury. Despite the controversy, Evans's work was very popular (there were eighteen editions between 1755 and 1814), and was famously used by General Braddock during the French and Indian War. Evans gives a detailed geographical description of the middle and southern colonies, particularly notable for an early description of the Ohio country, and gives a good description of the Carolina back country. Evans was also eager for the British to expand into the South, especially West Florida, to challenge the French and Spanish in the Gulf. According to Governor Pownall, writing in 1776, the map was the authority for settling boundary disputes in the region as it so accurately depicted the region. The present example is a very fine copy of the second edition, first issue of the text published by Benjamin Franklin (i.e. without an additional London imprint below Franklin's) and contains a rare example of the first issue of the map (i.e. without "The Lakes Cataraqui" just north of Lake Ontario). Significantly, the map present in this copy is with lovely full period hand-coloring. Sabin notes that many copies of Evans' tract do not include the map, and that only some copies are fully colored, as is this copy. On this second edition of the text, published the same year as the first, Miller notes: "This revised second edition of Evan's analysis of his General Map of the Middle British Colonies is virtually a page-for-page resetting of the first edition with sub- titles added on pp. 6 and 11, and the numeral 2 inserted to the left of the signature on the directional line of the first two leaves of each quire in fours." "The map is considered by historians to be the most ambitious performance of its kind undertaken in America up to that time, and its publication was a milestone in the development of printing arts in the colonial period" - Schwartz & Ehrenberg. MILLER 606. CAMPBELL 543. EVANS 7412. SABIN 23175. HOWES E226. CHURCH 1003. WHEAT & BRUN 298. BROWN, EARLY MAPS OF THE OHIO VALLEY 41. CRESSWELL, "COLONY TO COMMONWEALTH," pp.53-54, 82. DEGREES OF LATITUDE 34. GARRISON, CARTOGRAPHY OF PENNSYLVANIA, pp.269-74. PHILADELPHIA: THREE CENTURIES OF AMERICAN ART, pp.64-67. SCHWARTZ & EHRENBERG, p.165. STEPHENSON & McKEE, VIRGINIA IN MAPS, p.82. SUAREZ, SHEDDING THE VEIL 57. THE WORLD ENCOMPASSED 255. Klinefelter, "Lewis Evans and his Maps" in TRANSACTIONS OF THE AMERICAN PHILOSOPHICAL SOCIETY, Vol. 61, no. 7 (1971). Stevens, LEWIS EVANS AND HIS MAP (London, 1905). Less

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Paris: Estienne Michallet, 1681.. [2],16,43,[1],18,[2],32,[4],20,14,8,16pp. including six plates and errata leaf, plus two folding maps (of three,... More

Paris: Estienne Michallet, 1681.. [2],16,43,[1],18,[2],32,[4],20,14,8,16pp. including six plates and errata leaf, plus two folding maps (of three, lacking the equipolar projection map, "Explication de la carte de la Decouverte de la Terre d'Ielmer") and three plates (two folding), with eleven engravings in the text. Contemporary calf, spine gilt, raised bands. Chipped at spine ends, a bit of wear along upper and lower portions of front hinge, bottom edge of rear board slightly worn. A few neat corrections in a contemporary hand. Tasman map and the two folding plates with closed tears along the bound-in edge, but with no loss. Small closed tear along one fold of the Mississippi map, but with no loss. Overall, a very good copy, lacking only the equipolar projection map. In a half morocco box. The very rare first edition of Thevenot's collection of travels, and an essential document in the exploration of the interior of North America. This is a very complex book bibliographically, and there are many variant issues, especially in the part of the work devoted to natural history discoveries of Swammerdam and others. Many copies lack some of the natural history components. Its importance and value, however, derive from the section and accompanying map devoted to the travels of Marquette and Joliet and the map showing the discoveries of Abel Tasman, and these are identical in both editions. The most notable aspect of Thevenot is that it contains the first publication of Father Marquette's relation of his discovery, with Joliet, of the upper Mississippi River and their exploration as far as the Arkansas River in 1673. This remarkable expedition established the basic structure of the Mississippi headwaters for the first time, and opened the way for the dominance of the French in the Mississippi Valley over the next century. Their account begins on May 17, 1673, when the party set out in two canoes from Mackinac. They reached the Mississippi via Green Bay and the Fox River on June 17, floated as far south as Arkansas, and returned north by way of the Illinois and Des Plaines rivers and the later site of Chicago. The accompanying map is a major landmark of American cartography, "Carte de la decouverte faite l'an 1673, dans l'Amerique Septentrionale." The map is the first to bear the word "Michigan," and shows the lake of that name and the Mississippi River from its headwaters to the sea. A figure appears in the center of the map, identified as "Manit8," representing an Indian god. The map appears here in its third state, as usual, with the date of 1673 in the title of the map. Burden convincingly asserts that the first and second states (known in only one copy each) were almost certainly proofs. This is one of the most important American frontier exploration narratives. Howes says: "The first edition of Thevenot's RECUEIL, while less rare than Le Clerq's PREMIER ETABLISSEMENT DE LA FOI, 1691, is of equal importance...." "The first printed representation of the Mississippi based on actual observation" - Streeter. The other sections of Thevenot's work are of considerable interest as well. The Tasman map is one of the first to show parts of the Australian coastline in detail, based on his 1644 voyage. It shows part of the coast of New Guinea, Tasmania, and much of the east coast of Australia, and is a basic work of Australian cartography. It is present here in its third issue, with the Tropic of Capricorn inserted and with the rhumblines. "In any state the map is a great rarity. It is one of the earliest charts devoted entirely to Australia, and is the first French map of Australia" - Davidson. There is also an account of explorations in polar regions by the Dutch in 1680, which is usually accompanied by a third map, an equipolar projection, which is lacking from this copy. The third exploration piece is an account of a trip overland from Russia to China in 1653. Finally, there is a discourse on navigation, and the natural history sections discussing the illustration of insects. A major work of Americana, with one of the landmark accounts and maps of the discovery of the Mississippi Valley. CHURCH 672. HARRISSE NOUVELLE FRANCE 147. SABIN 95332. WORLD ENCOMPASSED 211. STREETER SALE 101. SIEBERT SALE 659. HOWES T156, "c." EUROPEAN AMERICANA 681/141. BURDEN 540. CLEMENTS, 100 MICHIGAN RARITIES 4. GREENLY MICHIGAN 6. GRAFF 4122. JONES 320. TOOLEY, MAPPING OF AUSTRALIA AND ANTARCTICA, plate 92. Davidson, A BOOK COLLECTOR’S NOTES, pp.28-29. Less

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