Lima: Francisco del Canto, 1617.. [16],799,[45]pp. Small quarto. Later vellum with pigskin ties, manuscript title on spine, brand on top edge.... More

Lima: Francisco del Canto, 1617.. [16],799,[45]pp. Small quarto. Later vellum with pigskin ties, manuscript title on spine, brand on top edge. Modern bookplate on front pastedown. Internally clean. Near fine. In a cardboard slipcase. First edition of the "first American work with substantial portions devoted to law of the sea and customs regulating sea-borne commerce" (JCB Maritime Books 459). A general encyclopedia of legal knowledge concerning trade by land and sea, it was drawn up for the use of merchants, agents, navigators, lawyers and consuls. It was reprinted nine times in Spain in the 17th century and fifteen more times in the 18th century. By the nature of its subject, it clearly was an important and heavily used reference, and consequently has become rare, especially in fine condition. This is the first major work on commerce, banking, and trade published in the New World, and stands among a mere handful of books to be first printed in the Americas and then exported to Spain. At the time of publication there were only three presses in the New World, in Mexico City, Puebla, and in Lima. The book's printer, Francesco del Canto, was the successor to Peru's first printer, Antonio Ricardo, who began printing in South America in 1585. This is the most extensive work published in South America up to the time, and surpassed only by a few works published in Mexico in all of the New World. A very rare work, with only two copies traced at auction in at least 100 years. Not in HAS, Salva, Kress or Sabin. A lovely copy of an early Lima imprint and an Americanum of surpassing importance. MEDINA (LIMA) 73. PALAU 114526. Less

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[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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New York: Printed and sold by John and Andrew M'Lean, 1788. 2 volumes, 12mo. (6 1/8 x 3 3/4 inches). vi, 227; vi, 384pp. Expertly bound to style in... More

New York: Printed and sold by John and Andrew M'Lean, 1788. 2 volumes, 12mo. (6 1/8 x 3 3/4 inches). vi, 227; vi, 384pp. Expertly bound to style in contemporary tree calf, the covers with a neo-classical Greek-key roll- tool border, the flat spine tooled in gilt, divided into six compartments with a Greek-key roll, lettered in the second compartment, numbered in the fourth, the others with an elegant repeat pattern in gilt, both contained within a recent black morocco box, spine gilt. Rare first edition of the most important work of American political thought ever written and according to Thomas Jefferson "the best commentary on the principles of government." The first edition of The Federalist comprises the first collected printing of the 85 seminal essays written in defense of the newly-drafted Constitution. The essays were first issued individually by Alexander Hamilton, James Madison and John Jay in New York newspapers under the pseudonym 'Publius' to garner support for the ratification of the Constitution. This first collected edition was published in early 1788: volume I published in March, contains the first 36 numbers, volume II published in May, includes the remaining 49, together with the text of the Constitution. Upon its publication, George Washington noted to Alexander Hamilton that the work "will merit the Notice of Posterity; because in it are candidly and ably discussed the principles of freedom and the topics of government, which will always be interesting to mankind" (George Washington, letter to Hamilton, 28 August 1788). The genesis of this "classic exposition of the principles of republican government" (R.B. Bernstein, Are We to be a Nation? The Making of the Constitution, 1987, p.242) is to be found in the "great national discussion" which took place about the ratification of the Constitution, and the necessity of answering the salvos in print from the Anti-Federalists and other opponents of a strong Federal government. The original plan was that James Madison and John Jay were to help Hamilton write a series of essays explaining the merits of their system, whilst also rebutting the arguments of its detractors. "Hamilton wrote the first piece in October 1787 on a sloop returning from Albany...He finished many pieces while the printer waited in a hall for the completed copy" (R. Brookhiser Alexander Hamilton: American, 1999, pp.68-69). In the end, well over half of the 85 essays were written by Hamilton alone. Despite the intense time pressures under which the series was written "what began as a propaganda tract, aimed only at winning the election for delegates to New York's state ratifying convention, evolved into the classic commentary upon the American Federal system" (F. McDonald Alexander Hamilton: A Biography, p.107). The Federalist is without question the most important commentary on the Constitution, the most significant American contribution to political theory and among the most important of all American books. Church 1230; Cohen 2818; Evans 21127; Ford 17; Grolier American 100, 19; Howes H114, "c"; Printing and the Mind of Man 234; Sabin 23979; Streeter Sale 1049. Less

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