Amsterdam: Cornelis Claesz, 1596 - 1595 - 1596.. Three parts bound in one volume (parts two and three bound in reverse order in this copy). Text in... Ouvrir

Amsterdam: Cornelis Claesz, 1596 - 1595 - 1596.. Three parts bound in one volume (parts two and three bound in reverse order in this copy). Text in double columns. [8],160; 134,[4],135-147,[8]; 82,[1]pp. plus a total of six folding or double-page maps, thirty- six folding or double-page plates, and a single-page portrait of Linschoten. Folio. Contemporary vellum, elaborately tooled in gilt, spine with gilt compartments, silk ties, yapp edges. Recased, with new endpapers. Maps and folding plates with some occasional slight chipping or splits at folds, repaired on versos in some cases. Occasional tanning or foxing. Overall, a handsome copy, brilliantly colored. In a chemise and half morocco and cloth slipcase, spine gilt. A remarkable copy of the first edition of the most important description of the East Indies in the Age of Discovery, with beautiful early hand-coloring and in a handsome contemporary vellum binding, likely a special presentation copy. Linschoten's work was of tremendous importance, as it unlocked the secrets of Asian trade routes, once the exclusive domain of the Portuguese, for the rest of Europe Jan Huygen van Linschoten (1563-1611) a Dutchman born in Haarlem in 1563, had an "avaricious thirst for knowledge which enabled him to get detailed information of land and sea as far afield as the Spice Islands and China" (Penrose). Linschoten travelled to Goa in 1583 as a clerk of the newly- appointed Portuguese Archbishop of Goa. He made a few trips into India, compiling notes on his experiences, gleaned information on sea routes from Portuguese sailors, and collected information from other sources as well. Linschoten left India in 1589, hired as a pepper factor for the Fugger and Welser interests, where he learned about the organization and administration of the spice trade. Returning to Holland in 1592 (after a two-year stay in the Azores), he prepared his notes for the Amsterdam publisher, Claeszoon, in response to interest in the Netherlands and other European countries about commercial possibilities in Asia. As trade in the Far East was dependent on routes via America or Africa, his work eventually encompassed the entire globe, including Spanish and Portuguese activities in America. Linschoten's practical experience lent authenticity to his work, and it remains one of the most important of all travel books. Linschoten's ITINERARIO... and the two other works published in 1595 and 1596 (which should properly be found together, as here) soon was considered the single most significant source regarding the East and West Indies and numerous editions were published in Dutch, Latin, French, German, and English. Klooster describes the work as "a magnificent panorama of pictures and maps of the non-European world. ITINERARIO contained so much detailed and accurate information about shipping lanes, winds, and currents, that seafarers could use it virtually as a handbook. Many of his maps were in fact copies of the excellent models of the Portuguese cartographer Fern?Vaz Dourado." It was the most comprehensive account of the East and West Indies available at the beginning of the 17th century. As well as including important travel accounts taken from contemporary Portuguese, Dutch, and Spanish sources, it is the first work to include precise sailing instructions for the Indies, and, according to Church (and other authorities), "it was given to each ship sailing from Holland to India." The second section, REYS-GHESCHRIFT VANDE NAVIGATIEN..., was published in 1595, a year before the ITINERARIO..., and is bound last in this copy. The text gives detailed sailing directions for the East Indies, as well as for Brazil and the West Indies. The third part (bound second in this copy) gives an account of America on pages 17-82, especially the coastal regions, and includes information on the African coast as well. It is found here in its first state (see Church), and was published in 1596. The maps include van Langren's maps of the East Indies and South America (including the Caribbean and Florida), and the double- hemispherical world map of Plancius dated 1596 (Shirley 192). The marvellous plates include scenes of Asia, particularly Java, China, and India. Several of the plates depict activities in Goa, including a wonderful panoramic view of the market, while other plates depict Portuguese travellers on land and on sea. Linschoten's is an important work that served not only as a valuable record, but also as a catalyst for change in the balance of power amongst European trading nations in the east: "the navigator's vade mecum for the Eastern seas" (Penrose). When Linschoten returned from Goa to his home in the Netherlands, he did so at a time when the people of northern Europe and particularly his countrymen were especially interested in what he had to report concerning the trading activities of the Portuguese in the East. His most important and far- reaching observations concerned the gradual decline of Portuguese power in the East and her ability to protect her trade routes and monopolies. This, together with the trading possibilities he detailed, encouraged a series of Dutch, French, and English fleets to set sail for the Spice Islands, and beyond to China and Japan. Lach says that Linschoten's description of Goa is "one of the most original and reliable narratives prepared during the sixteenth century on life at the hub of Portugal's Eastern empire and still is regarded as one of the best sources for Goa's history at the peak of its glory....The original edition...contains a number of excellent maps, three of which are of great value for the study of Asia. These maps, which are much better and more detailed than earlier printed maps, were clearly derived from the latest and best Portuguese charts of the Eastern oceans and sea coasts" - Lach. Parry calls Linschoten's work "a journal of human adventure and observation, an uplifting story that appeals on many levels." "Fine copies of this work with all the maps and plates are extremely rare" - Church catalogue. A work of tremendous consequence and importance, here in a handsome copy with lovely contemporary hand- coloring. EUROPEAN AMERICANA 596/63 & 596/64. JCB I, pp.343-345. SHIRLEY 192, 182. SABIN 41356. TIELE 84-87. KLOOSTER, DUTCH IN THE AMERICAS, p.8 & catalogue item 5. David E. Parry, THE CARTOGRAPHY OF THE EAST INDIAN ISLANDS, p.84-85. CHURCH 252. HOWGEGO L131. BORBA DE MORAES, pp.486-487. WAGNER, NORTHWEST COAST 184. Lach, ASIA IN THE MAKING OF EUROPE, volume 1, pp.198-204 & 482-489. Fermer

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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... Ouvrir

[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. Fermer

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Note: The information below, as well as additional photos, can also be viewed at http://www.betweenthecovers.com/private/Cinque/Excerpt.pdf.The... Ouvrir

Note: The information below, as well as additional photos, can also be viewed at http://www.betweenthecovers.com/private/Cinque/Excerpt.pdf.The Abolitionist Autograph Collection of Elwood Evans (1828-1898), assembled in the 1840s, highlighted by what we believe to be one of only three surviving autographs of Cinque, leader of the Amistad revolt, and the only example in private hands. The collection, assembled in Evans' youth, also contains a fine example of the rare John Sartain engraving of Cinque, the Signature of another member of the Amistad revolt, Fuli (here Foole), as well as the Signatures of abolitionists Thomas Clarkson, Charles C. Burleigh, John Pierpont, Joseph Parrish, Joshua Giddings, and Isaac T. Hopper, considered the founder of the Underground Railroad.Elwood Evans, who was born and raised in Philadelphia, traveled to the Pacific Coast at the age of 22 and became deputy clerk to the collector of Puget Sound. The collection also contains four State appointments, dating between 1851 and 1854, in each case appointing him Commissioner for the Territory of Oregon. These are Signed by William F. Johnston, George F. Fort, Horatio Seymour, and Emory Washburn (Governors of Pennsylvania, New Jersey, New York, and Massachusetts, respectively). Evans spent most of his adult life in the Pacific Northwest, as a private attorney, public official (he was Mayor of Olympia from 1859-1861), and local historian, culminating in the publication of his two-volume History of the Pacific Northwest (1889).THE CINQUE AND FOOLE AUTOGRAPHSThe Signatures of Cinque and Foole are in ink, on a small slip of paper (approximately 4" x 3.5"), mounted on a larger contemporary sheet of paper. Below the signature is written in ink in a different hand: "at Lombard St School 5mo 27 1841." Below this in pencil is written "Cinque and F-foole [sic] visited the abo[ve] School with Chas Evans then a Director and then and there signed the above." Cinque (also known as Cingue, Joseph Cinquez, and Sengbe Pieh), was born in what is now Sierra Leone around 1813 and is believed to have died there circa 1879. The history of Cinque's life from the time of his enslavement in 1839 to his return to Sierra Leone as a free man in 1841 is well-known, having been re-told numerous times and dramatized in the 1997 film Amistad, in which he was portrayed by actor Djimon Hounsou. Throughout the ordeal of the Amistad captives, Cinque was the unquestioned leader of the group, apparently not only because of his own initiative (having picked the lock of his captors while aboard ship, released his fellow slaves, and planned their rebellion), but also through his commanding presence and abilities. The entire group of Amistad captives was taught English, although not surprisingly it was the children among them who became most conversant in the language. After the Supreme Court ruled in their favor on March 9, 1841, they traveled to New York and Philadelphia as part of the effort to raise funds to provide for their transport home. On these occasions Cinque gave speeches in Mende, while a youth named Kale would speak in English. Despite the language difference, contemporary reports relate that Cinque's charisma was such that his speeches were often enthusiastically received even before they were translated to his audience.It is difficult to determine how proficient in English Cinque became while in the United States. Records indicate that he always spoke in Mende when giving court deposition and when making public appearances. However, the two other extant original documents signed by him, both institutionally held, may contain additional samples of his writing. The famous Mendi Bible, which the Amistad captives presented to John Quincy Adams in 1841 in appreciation of his forceful and effective arguments on their behalf, and now held at the Adams National Historical Park, contains a letter to Adams that is signed, "For the Mendi people. Cinque, Kinna, Kale." Some scholars believe the letter, and not just the signature, to be in Cinque's hand. The other signed letter is that held by the Amistad Research Center at Tulane University, dated February 9, 1841, from Cinque to the prominent New York merchant and abolitionist Lewis Tappan, who was the leader of the Amistad Committee and the person most responsible for their legal defense and living conditions while they were in the United States. This letter too is believed by some scholars to be entirely in Cinque's hand. Aside from his three years in the United States, very little is known about Cinque, and there is no reason to believe that he had occasion to write his name after his return to Africa.In addition to the three known autographs (the two institutionally held and the one offered here), there are two known facsimiles of his autograph as well. The first is the contemporary facsimile executed by engraver John Sartain for his 1840 mezzotint of Cinque (included in this collection, see below for further details). It is likely Sartain employed a certain amount of artistic license in more neatly rendering Cinque's signature. The second facsimile is found in a 1906 book Farmington, Connecticut: The Village of Beautiful Homes, in which local historian Julius Gay allowed his own "Autographs of the `Mendi Negroes,"" obtained in his youth when the Amistad captives were housed in Farmington, to be reprinted (p.177). The whereabouts of the original documents from which these facsimiles were made are unknown, and it is likely that one or both have long perished.The Amistad case and the Amistad captives became a national sensation, and their time in Philadelphia (May 24 to May 28, 1841) is well documented in contemporary issues of the Pennsylvania Freemen. The June 16, 1841 issue reports that they visited four churches, at which $482.30 was raised for their return to Africa. While not as fiscally impressive, the paper also reports that $2.01 was collected by the "pupils of the colored Public School." At the time Philadelphia had two public schools for African-American children (sometimes referred to as four schools because boys and girls were educated separately), one at Charlotte and Brown Streets, the other at Sixth and Lombard Streets. The Lombard Street School was built in 1819 as a school for white pupils. In 1828, when white students were transferred to a new building on Locust Street, it became a public school for African-American children. The school was later called the James Forten School, after the prominent African-American businessman who fought successfully to keep the school open when the school board wished to close it the year before the Amistad captives visited.While a certain amount of contemporary attention was paid to Cinque as the leader of the Amistad rebellion, comparatively little primary material exists about the other captives individually. Foole, also known as Fuli, Fu-Li-Wa, and Fuleh, like Cinque gave deposition against their Spanish captors. In addition, it was technically he who brought suit against them (done to forestall their removal to Spanish territory in case the Amistad case itself was lost). Foole, with Cinque and thirty-three other survivors of their ordeal, departed for their return to Africa in November 24, 1841. A facsimile of Foole's signature exists on the Julius Gay reprint, and the Amistad Research Center holds three letters signed by Foole; we could locate no other surviving documents signed by Foole.THE SARTAIN ENGRAVINGIncluded with the autograph collection is a handsome example of John Sartain's engraved mezzotint print of "Cinque: The Chief of the Amistad Captives" (approximately 9.25" x 7.5", very lightly rubbed in one spot else fine, mounted on a stiff backing sheet). This well-known image, commissioned by the African-American abolitionist Robert Purvis, is after a painted portrait by the abolitionist Nathaniel Jocelyn (brother of Amistad Committee member the Reverend Simeon S. Jocelyn). In March, 1841, Sartain, possibly at his own expense, sent 200 copies of the mezzotint to Lewis Tappan to be sold to help raise funds for the Amistad captives. Despite the strong pro-abolition mood of much of Philadelphia in the 1840s, the image was not universally acclaimed there. The city also had strong currents of anti-abolition sentiment from both white workers who felt threatened by the large free black workforce, and from elements of the city's elite who had strong financial ties to the South. Thus the Sartain portrait was officially rejected by the Philadelphia Academy for their second annual Artists" Fund Society exhibition because, "under the excitement of the times, it might prove injurious both to the proprietors and the institution" (Martinez, Life and Career of John Sartain, p. 76). This Cinque portrait is the most famous image by John Sartain (1808-1897), the London-born artist and publisher who settled in Philadelphia. Sartain was a committed abolitionist who also engraved portraits of William Lloyd Garrison, William H. Furness, and Lucretia Mott. He also published several notable works by his friend Edgar Allan Poe including "The Bells" and "Annabel Lee." Although we could find no direct connection between Sartain and Evans, an 1843 letter from Poe to the 14 year-old Elwood Evans, sending "Mr. Dana's" Boston address, was in the Doheny collection and sold at Christie's in 1988. In addition to writing Two Years Before the Mast, Richard Henry Dana was also an active abolitionist.While the Jocelyn/Sartain image has been reprinted countless times (mostly from the damaged example of the mezzotint in the National Portrait Gallery), original examples of the Sartain mezzotint are genuinely rare.THE CLARKSON, HOPPER, BURLEIGH, PIERPONT, PARRISH and GIDDINGS AUTOGRAPHSThe Thomas Clarkson autograph is also on a small (approximately 4.25" x 2.25") slip of paper, a little soiled else fine, and mounted to a contemporary sheet. It reads in full: "Thomas Clarkson / Playford Hall - Sept. 1, 1846, aged 87 / 'Remember them that are in bonds as bound with them' Hebrews 12.3." On a separate sheet Evans has written out a biography of Clarkson and ends with, "The above Autograph was purchased at the `Liberty Bazaar" held in this city [i.e. Philadelphia] in January 1847 and is known to be original." Clarkson (1760-1846), one of England's most famous abolitionists, first became interested in the subject on purely academic grounds when, as a student at Cambridge, he entered a Latin essay contest on the subject of the morality of slavery. Shortly after winning the contest, for which he undertook considerable research, Clarkson experienced a spiritual epiphany and decided to devote his life to abolition. With Granville Sharp he formed the Society for the Abolition of the Slave Trade, and later persuaded William Wilberforce to join their cause. The group was directly responsible for the abolition of the slave trade in the British Empire in 1807, and the abolition of slavery itself throughout most of the British Empire in 1833. Clarkson's publications include A Summary View of the Slave Trade and of the Probable Consequences of Its Abolition (1787) and History of the Abolition of the African Slave Trade (1808). While Clarkson autographs are not rare, this is certainly one of the last he ever provided, and comes with a quaint provenance.Isaac Tatem Hopper (1771-1852) was a New Jersey-born Quaker bookseller who, with Lydia Maria Child, edited the National Anti-Slavery Standard. More importantly, as a teenager he began to organize the system for aiding fugitive slaves that is now known as the Underground Railroad, and some consider him the founder or father of the Railroad. Hopper remained active in both the Railroad and abolition throughout his life, as well as other causes including prison reform. Hopper's note is on a single quarto leaf, folded from mailing with a few very minor chips and tears along the left side (probably from having been tipped into a larger book) and a moderate dampstain along the right side, very good. It reads: "My dear young friend, In compliance with thy request I cheerfully furnish thee with my autograph accompanied with an `original sentiment. / 'He who conscientiously discharges all his social and relative duties, without regard to circumstances or the opinions of others, may some times incur the displeasure of his friends; yet he will find in the end a comfort and confidence that will very far surpass all the favor and applause that can be awarded by his fellow man - Thy affectionate friend / Isaac T. Hopper / New York 9 mo 13th 1842 / To Elwood Evans."Charles Calistus Burleigh (1810-1878), a noted editor of abolitionist publications and widely considered among the best orators for the anti-slavery cause, sent Evans a short note: "To hold a slave without transgressing the Christian law, `love the Lord they God with all they heart, & love they neighbor as thyself," is just as impossible as to do injustice under the influence of a supreme regard for right, to act selfishly from pure good will to all mankind, & to support the falsehood from an unbounded reverence for truth. Philad. 10/25/42. C.C. Burleigh." On the reverse he has noted, "For Elwood Evans. Care of Edwin Satter." Burleigh's note is also on a single quarto leaf, near fine, folded from mailing and with a little wear along the left side from where it was likely tipped into a larger book.The letter from John Pierpont (1785-1866), dated 30 Nov. 1847, folded from mailing else about fine, notes that Pierpont does not have an extra autograph from Dr. [William E.] Channing to provide to Evans for his collection. However, Pierpont was flattered by the "kind things that you are pleased to say of myself and my past cause[s] and wishing you may succeed in your autographic enterprise..." Pierpont was a Connecticut-born educator, poet, and Congregationalist minister. While pastor at Boston's Hollis Street Church he published two of the better-known early school readers in the United States. His social activism for temperance and abolition angered his parishioners and after more than two decades he left that congregation and became pastor of a Unitarian church in Troy, New York, where this letter was written. Pierpont's Anti-Slavery Poems was published in 1843, and his poems were often recited at public anti-slavery meetings. Curiously, while the aged Pierpont was a Union military chaplain and then worked in the Treasury Department during the Civil War, his songwriting son James Lord Pierpont, most famous for the holiday classic "Jingle Bells," served for the Confederacy. John Pierpont was also the maternal grandfather of financier J. Pierpont Morgan.The letter from Joseph Parrish (1779-1840), addressed to the noted Philadelphia attorney Eli K. Price and dated January 25, 1836, discusses family and business matters. It is one quarto sheet, folded in half and written on two sides, fine. Parrish was a well-known Philadelphia physician and President of the Pennsylvania Abolition Society. Parrish attended the eccentric Virginia statesman John Randolph of Roanoke at his death in 1833 and executed the latter's dying wish to have his slaves manumitted. Tipped to the letter is a biographical paragraph by Evans who concludes: "Though quite young at the time [of Parrish's death] I well remember the impression it produced in the community."The short note from Joshua Reed Giddings to Evans is undated, on a single quarto leaf, folded as a self-mailing letter, and torn 3/4 through the primary fold, possibly when initially opened by Evans, not affecting any writing, overall about very good. In it Giddings suggests an address for another person Evans was evidently trying to contact. Giddings (1795-1864) was a long-time Ohio Congressman, one of the most outspoken and radical anti-slavery statesmen of his time. Privately he was active in the Underground Railroad, and in public he endorsed insurrection and violent resistance to slavery. He was censured by Congress for attempting to put on record that the House of Representatives was opposed to federal measures to defend the coastwise slave-trade. Abraham Lincoln was his messmate in Washington in 1847-1848, and a careful student of Gidding's speeches in Congress. Perhaps Gidding's most enduring contribution to history was the notion he developed in the 1850s that, in the event of war, the President could use his war powers to emancipate the slaves of the Southern states (Julian. The Life of Joshua R. Giddings, p. 405). Giddings left Congress after twenty years of continuous service, primarily due to ill health, and in 1861 Lincoln appointed him consul-general to Canada, a post which he held until his death.THE STATE APPOINTMENTSOf the four State appointments of Evans as Commissioner to the Territory of Oregon, the earliest is from Pennsylvania, dated May 6, 1851 and Signed by Governor William F. Johnston (1808-1872). The next is from New Jersey, dated January 28, 1852 and Signed by Governor George F. Fort (1809-1872). The third is from New York, dated February 15, 1854 and Signed by Governor Horatio Seymour (1810-1886). The last is from Massachusetts, dated March 28, 1854 and Signed by Governor Emory Washburn (1800-1877). All four documents are about fine with slight wear.The Elwood Evans Abolitionist Autograph Collection was fortuitously assembled by the young Philadelphian. Although the letters and notes themselves demonstrate that he was actively acquiring autographs related to abolition, it was mostly luck that he was in the right place at the right time to obtain the collection's most scarce and most important autograph, that of Cinque, and that the autograph was valued and preserved by him throughout his life. Because of the small window of time during which Cinque could have written his autograph, and because there would have been little reason for him to sign any documents at all, few signatures of important figures in African-American history, or American history in general, could be more elusive. A letter written by Phillis Wheatley, one of about two dozen known, recently sold for over $200,000, and relatively common signed copies of her volume of poems usually sell in the mid five figures. By comparison, there are close to thirty known surviving autographs of Button Gwinnett, the signer of the Declaration of Independence whose signature is usually considered the scarcest of all American autographs, and there are six surviving signatures of William Shakespeare.A rare, museum quality signature with extensive documentation, and an important survival of African-American and indeed all of American history. Fermer

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