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Ten Songs Printed in Philadelphia and Owned by the Family of Francis Hopkinson
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Ten Songs Printed in Philadelphia and Owned by the Family of Francis Hopkinson

by [EARLY AMERICAN SHEET MUSIC]. HOOK, James (1746-1827); SANDERSON, James (1769-1841); SHIELD, William (1748-1829)

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Philadelphia: George E. Blake; Benjamin Carr and Co. at the Musical Repository, 136 High Street; George Willig at 12 South 4th Street, 1810. Folio Sheet Music. ff. 15, pp. 30. Sheets: (13 1/4 x 8 1/4 inches). Plate marks: (10 3/4 x 7 3/4 inches). 4 single page and 6 bi-fold pieces of copper-plate engraved sheet music. Several of the sheets are hand-foliated in ink. Provenance: Founding Father Francis Hopkinson's family A selection of ten pieces of early American sheet music from the family of Francis Hopkinson, America's first composer, printed by the foremost early American music publishers in Philadelphia. "I cannot, I believe, be refused the Credit of being the first Native of the United States who has produced a Musical Composition." - Francis Hopkinson Founding Father Francis Hopkinson (1737-1791) was a signatory for New Jersey to the Declaration of Independence and the first American to compose a song. Hopkinson published three of the earliest American song collections: Collection of Plain… Read More
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Magni Ducatus Lithuaniae Caeterarumque Regionum Illi Adiacentium Exacta Descriptio

Magni Ducatus Lithuaniae Caeterarumque Regionum Illi Adiacentium Exacta Descriptio

by [EASTERN EUROPE] BLAEU, Willem Janszoon [1571-1638] and GERRITSZ, Hessel [1580/81-1632]

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Amsterdam: Guilhelmus Janssonius, Blaeu, 1613. Large engraved map of Lithuania, Latvia, and Kaliningrad with adjacent regions of Poland, Belarus, and Ukraine. 4 sheets joined, Dimensions: 31 1/2 x 30 1/4 inches. Copper engraving with original hand-colouring; verso blank. Minor restoration. The incredibly rare first edition, first state of the most important wall map of Lithuania from the 17th century. Fine example of this important wall map of Lithuania and parts of Poland, Russia, Ukraine, and Latvia, extending to Cracow, Kiev, Warsaw, Riga, Konigsberg, Dantzig, Leopolis, and nearby regions. The map was engraved by Hessel Gerritsz from original drafts prepared under the instructions of Prince Nicolas Christophe Radziwill, and first issued in 1613 by Willem Blaeu, under his original imprint Guilhelmus Janssonis. This is one of the earliest maps published by Blaeu, who did not incorporate this map into an atlas until approximately 1630. The Radziwill map is one of the most important works of European… Read More
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An Address to the Pupils Attending Mr. Wright's Academy, Kighley

An Address to the Pupils Attending Mr. Wright's Academy, Kighley

by [EDUCATION]

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1800. [2]pp., with integral blank leaf. Disbound. Minor foxing. A short but interesting work consisting of advice and rules for Wright's Academy of Kighley (presumably Keighley, England). The first page is a letter to the pupils, and the second page lists eight rules "to be observed by the pupils attending Mr. Wright's Seminary." A rare and possibly unique work, as no records of another copy can be found anywhere.
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Letter signed (Edward) to architect James Wyatt, concerning repairs and alterations at Kensington...

Letter signed ("Edward") to architect James Wyatt, concerning repairs and alterations at Kensington Palace, including proposed work on the library

by EDWARD Augustus, Duke of Kent (1767-1820)

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Kensington Palace, 1809. 6pp., on 3 sheets of paper, each 9 3/4 x 7 3/4 inches. Each sheet inlaid at a later date. Renovating Kensington Palace. In this lengthy letter, the father of Queen Victoria consults architect James Wyatt concerning repairs to Kensington Palace. Wyatt had been previously employed by Edward to renovate Castle Hill Lodge, but here discusses proposed improvements at Kensington Palace, which were "in a very dilapidated state, & really disgraceful." Among the needed repairs he requests were the walls of the footman's waiting room, the installation of bookcases and other renovation in the library and changes to the garden room.
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The History of Texas; or, The Emigrant's, Farmer's, and Politician's Guide to the Character,...
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The History of Texas; or, The Emigrant's, Farmer's, and Politician's Guide to the Character, Climate, Soil and Productions of that Country...

by EDWARD, David B.

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Cincinnati: J. A. James & Co, 1836. 12mo. 336pp. plus leaf of advertising and folding map (outlined in color). Later 19th-century three-quarter morocco and cloth boards, spine gilt, edges marbled. Important Early Texas History "The map shows towns, rivers, colonies, grants, Indian villages, mountains, roads, silver mines in Mexico and on the San Saba River, iron ore, copper mine, note on Col. B.R. Milam's death, comments on wild life and topography, salt works on Galveston Bay, site of General Toledo's defeat in 1813....There is also a printed note by D.B. Edwards on the Rio del Norte, its navigability and its possibilities as a southwestern boundary for Texas" - Day. "As a preceptor of Gonzales Seminary and resident of Texas, Edward was well equipped to record his observations accurately" - Graff. "This contemporary history by Edward, notwithstanding some idiosyncrasies of the author, is one of the essential Texas books. It gives a good account of the physical features and towns and products of… Read More
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The History of Texas; or, The Emigrant's, Farmer's, and Politician's Guide to the Character,...
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The History of Texas; or, The Emigrant's, Farmer's, and Politician's Guide to the Character, Climate, Soil and Productions of that Country...

by EDWARD, David B.

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Cincinnati: J. A. James & Co, 1836. 12mo. (7 1/4 x 4 1/2 inches). 336, [2]pp. Publisher's advertising leaf in the rear. Engraved folding map, hand-colored in outline. Publisher's brown cloth, rebacked retaining most of the original spine and paper lettering piece. An early and significant work on Texas, with an important Map of Texas. "The map shows towns, rivers, colonies, grants, Indian villages, mountains, roads, silver mines in Mexico and on the San Saba River, iron ore, copper mine, note on Col. B.R. Milam's death, comments on wild life and topography, salt works on Galveston Bay, site of General Toledo's defeat in 1813....There is also a printed note by D.B. Edwards on the Rio del Norte, its navigability and its possibilities as a southwestern boundary for Texas" - Day. "As a preceptor of Gonzales Seminary and resident of Texas, Edward was well equipped to record his observations accurately" - Graff. "This contemporary history by Edward, notwithstanding some idiosyncrasies of the author, is… Read More
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A Select Collection of One Hundred Plates, consisting of the most Beautiful Exotic and British...
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A Select Collection of One Hundred Plates, consisting of the most Beautiful Exotic and British Flowers

by EDWARDS, John (1742- after 1812)

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London: for S. Hooper, 1775. Folio. (17 7/8 x 11 1/4 inches). 100 hand-coloured engraved plates by J. Edwards, whilst some other plates were engraved by Ignace Fougeron and William Darling. Contemporary diced russia, spine gilt, expert repair to the front joint. Provenance: David Mill (bookplate); Frederick du Cane Godman (bookplate) One of the most highly artistic flower books of the eighteenth century. It is likely that the illustrations were coloured by Edwards himself, as he not only made the drawings, but also etched and engraved the majority of the plates. Born in 1742, Edwards was both a book-illustrator and an artist for the calico-printing industry. He specialised in flower studies, and his works were exhibited at the Society of Artists and the Royal Academy. Described by Henrey as "an outstanding folio volume," Edwards' work is not really a herbal at all "as a number of the species figured have no medical interest, and without doubt the plants were chosen for their decorative value"… Read More
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The Goldfinch [and] The American Goldfinch from New York... [Pair of ornithological watercolours,...
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The Goldfinch [and] The American Goldfinch from New York... [Pair of ornithological watercolours, depicting two different goldfinches]

by [EDWARDS, George (1694-1773,) attributed to]

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Watercolour on laid paper; one captioned 'The American Goldfinch from New York,' the other captioned 'The Goldfinch.' Image size: [American Goldfinch] 11 5/8 x 8 7/8 inches; [Goldfinch] 11 1/16 x 8 1/2 inches. A lovely pair of original watercolours attributed to George Edwards. The Fairhaven inventories attribute these unsigned drawings to George Edwards. George Edwards, known as "the father of British ornithology", was a famed naturalist who produced a monumental seven volume series of bird etchings with hand-written descriptions, oft cited by Carl Linnaeus in his Systema Naturae. "George Edwards was born at Stratford, Essex, and received his early education at a public school at Leytonstone, later being apprenticed to a tradesman in London. Having access to a large library of scientific books Edwards studied these assiduously and, having made up his mind not to enter business, decided to travel abroad. Between 1716 and 1733 he visited many foreign countries but in December of the latter year… Read More
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The Bustard Cock [and] The Hen Bustard ... [Pair of ornithological watercolours signed, depicting...
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The Bustard Cock [and] The Hen Bustard ... [Pair of ornithological watercolours signed, depicting a male and female Great Bustard]

by EDWARDS, George (1694-1773)

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London, 1746. Watercolour and gouache on laid paper, signed and dated within the images and with pen-and-ink inscriptions concerning the sizes of the birds. Sheet sizes: approx. 16 3/4 x 13 3/8 inches. Matted. A lovely pair of original watercolours by George Edwards. "Through the influence of Sir Hans Sloane, [Edwards] was chosen Librarian to the Royal College of Physicians ... Almost immediately after he was appointed ... Edwards commenced the preparation of a series of coloured drawings of animals and birds, used later to illustrate [his Natural History of Uncommon Birds]; for these he was awarded the Gold Medal of the Royal Society and subsequently elected a Fellow" (Lisney p.127). Edwards' would use these images within his Natural History of Uncommon Birds (part II, plates 73 and 74), with the background of Stonehenge as depicted on the present male Bustard as the background of the Hen Bustard. His description of the Hen Bustard makes special note of the difference in size between the male and… Read More
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A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals... [With:]...
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A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals... [With:] Gleanings of Natural History Exhibiting Figures of Quadrupeds, Birds, Insects, Plants, &c..

by EDWARDS, George (1694-1773)

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London: Vols. I-V: Printed for the Author, at the College of Physicians, in Warwick-Lane. Vols. VI-VII: Printed by George Sidney, Northumberland Street, Strand, 1806. 7 volumes. 4to. (11 1/4 x 8 3/4 inches). [Uncommon Birds:] 4 parts in 4 volumes. 211 etched plates by and after Edwards, 210 of which finely hand-colored, 1 of "Un Samojeed" uncolored, with dates of initial publication in plates. Bound with engraved general titles in English and French by Johann Sebastian Muller in first volume and letterpress part titles in both languages in all subsequent volumes. The plates and English leaves generally on wove paper, the French leaves generally on laid, with watermarks dating to 1794 on Whatman paper and erroneous dates of publication to 1750. Vol. I frontispiece omitted in this issue. Vol. II with the "Un Samojeed" portrait and catalogs of bird names. Woodcut head and tailpieces and initials. [Gleanings:]: 3 parts in 3 volumes. 152 finely hand-colored etched plates by and after Edwards, numbered… Read More
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A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals
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A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals

by EDWARDS, George (1694-1773)

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London: printed by C. Rickaby "for the author" [i.e. William Gardiner and Messrs. Robinson], 1805. 4 parts bound in 2 volumes. 4to. (11 1/2 x 9 1/4 inches). Titles and text printed on wove or laid paper, two general titles (one in French and one in English) at the front of vol.I with engraved vignettes by Johann Sebastian Müller. 1 hand-coloured etched emblematic frontispiece, 211 etched plates (printed on wove or laid paper, 210 finely hand-coloured, 1 uncoloured etched plate of the Samoyed) all by and after Edwards, woodcut head- and tailpieces and initials. A spectacular set of "one of the most important of all bird books, both as a fine bird book and a work of ornithology" (Fine Bird Books). [With:] EDWARDS, George (1694-1773). Gleanings of Natural History, Exhibiting Figures of Quadrupeds, Birds, Insects, Plants, &c. London: printed by C. Rickaby for "the author" [i.e. William Gardiner and Messrs. Robinson], "1758-1760" [plates watermarked 1803-1805]. 3 parts bound in 2 volumes. 4to. Titles… Read More
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A Collection of Flowers drawn after Nature, & disposed in an Ornamental & Picturesque Manner
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A Collection of Flowers drawn after Nature, & disposed in an Ornamental & Picturesque Manner

by EDWARDS, John (1742-1815)

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London, 1798. Folio. (19 1/16 x 13 1/4 inches). Engraved throughout. Stipple-engraved and mezzotint decorative allegorical title with mounted oval paper lettering slip and manuscript imprint dated 2 January 1798, 79 fine hand-coloured engraved plates by Edwards. Expertly bound to style in contemporary mottled calf, covers with a Greek key scroll border, spine gilt with raised bands in six compartments, red morocco lettering piece. A fine copy of an Edwards' masterpiece. The excellent plates fall into two main categories. There are 12 plates of designs with a floral theme, and 67 plates of botanical subjects, either single sprays or small bouquets, often tied with ribbon. Of these latter botanical plates, 29 show the subjects within ovals defined by a bodycolour border and 35 have a simple border. The three largest plates have no borders and include the works masterpiece, plate 69 Eastern Poppy, this plate alone justifies Dunthorne's assertion. Most of the plates have captions and imprints lightly… Read More
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Het Bretagner Paard [Breton Horse]

Het Bretagner Paard [Breton Horse]

by EERELMAN, Otto (1839-1926)

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[Antwerp: Zutphen, Schillemans & Van Belkum, 1907. Colour-printed lithograph by J.L. Goffart, after a painting by Otto Eerelman on heavy textured card. Very good condition apart from some chipping at the extreme edges. A rare and finely rendered portrait of a noble draft horse, from the limited Dutch edition of Eerelman's 'Paardenrassen Kunstalbum'. Originating in Brittany during the Middle Ages, the popular Breton horse was prized for its hardiness, strength and stamina. Bred in three types, the Postier Breton, the Heavy Draft Breton, and the Corlay or Central Mountain Breton, the Breton is still one of the most widely used draft horses in France. A skilled draftsman, watercolourist, and painter, Otto Eerelman was born in the Netherlandish village of Groningen in 1839, where he studied with the Dutch history painter J.H. Egenberger at the Minerva Academy. He later studied in Paris in 1867 and in Brussels from 1874 to 1876. After living in The Hague and Arnhem for several years, he returned to his… Read More
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De Russische Harrdraver [Russian Trotter]

De Russische Harrdraver [Russian Trotter]

by EERELMAN, Otto (1839-1926)

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[Antwerp: Zutphen, Schillemans & Van Belkum, 1907. Colour-printed lithograph by J.L. Goffart, after a painting by Otto Eerelman on heavy textured card. Very good condition. A rare and finely rendered portrait of a historically significant breed of horse, from the limited Dutch edition of Eerelman's 'Paardenrassen Kunstalbum'. First appearing during the late nineteenth century, the Russian Trotter was a combination of the American Standardbred (American Trotter) and the native Russian Orlov. Essentially a harness horse, it was valued for its speed and initially bred to circumvent the ban on racing foreign-bred horses in Russia. At the end of the 1950s, the breed began to decline due to the increasing popularity of the French Trotter and the common use of the American Standardbred on European harness tracks. A skilled draftsman, watercolourist, and painter, Otto Eerelman was born in the Netherlandish village of Groningen in 1839, where he studied with the Dutch history painter J.H. Egenberger at the… Read More
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Het Algiersche Paard [Algerian Horse]

Het Algiersche Paard [Algerian Horse]

by EERELMAN, Otto (1839-1926)

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[Antwerp: Zutphen, Schillemans & Van Belkum, 1907. Colour-printed lithograph by J.L. Goffart, after a painting by Otto Eerelman on heavy textured card. Very good condition. A rare and finely rendered portrait of a noble draft horse, from the limited Dutch edition of Eerelman's 'Paardenrassen Kunstalbum'. A skilled draftsman, watercolourist, and painter, Otto Eerelman was born in the Netherlandish village of Groningen in 1839, where he studied with the Dutch history painter J.H. Egenberger at the Minerva Academy. He later studied in Paris in 1867 and in Brussels from 1874 to 1876. After living in The Hague and Arnhem for several years, he returned to his hometown, where he became an instructor at the Minerva Academy. Although widely reputed for his paintings of the royal family, particularly Queen Wilhelmina, Eerelman was primarily known for his detailed renderings of horses. In 1907, Zutphen, Schillemans & Van Belkum published a Dutch edition of Paardenrassen Kunstalbum, a portfolio of… Read More
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Fifteen Original Oriental Manuscripts. 12th-18th centuries
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Fifteen Original Oriental Manuscripts. 12th-18th centuries

by EGE, Otto F. (1888-1951)

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15 manuscript leaves of various sizes, each hinged to uniform card window mounts (18 1/2 x 13 1/16 inches). 14 leaves on paper and 1 on vellum, some heighted in gold or with other illuminations, each with printed paper slip identifying the manuscript leaf, with printed contents leaf. Original black cloth portfolio with cloth ties. Number 7 of only 40 sets of this celebrated portfolio of "Oriental" (i.e. non-Western) manuscript leaves, of which 8 are Arabic. Contains 15 manuscript leaves from the 12th century (Cairo) to the 18th century (Russia and Tibet). Languages represented include Arabic, Persian, Syriac, Armenian, Ethiopic, Tibetan, Greek, and Slavic Otto Frederick Ege (1888-1951) was the Dean of the Cleveland Institute of Art, a lecturer on the history and the art of the book at Western Reserve University. He created a market for medieval manuscript leaves in America during the 20th century. Between 1917 and 1950, Ege acquired, deconstructed and subsequently dispersed medieval manuscripts and… Read More
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Cereus
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Cereus

by EHRET, After George Dionysius (1710-1770)

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[Nuremberg], 1773. Engraving, coloured by hand, by J.J. or J.E.Haid. Very good condition apart from some overall light soiling. A very fine image from Trew's "Plantae Selectae," one of the greatest of all eighteenth-century botanical books, drawn by the greatest of eighteenth-century botanical artists, George Dionysius Ehret. Linnaeus wrote to Trew, in Latin, that "The miracles of our century in the natural sciences are your work of Ehret's plants...[N]othing to equal them was seen in the past or will be in the future." Christoph Trew, a physician and botanist, had for a number of years been an admirer of Ehret's work. Ehret, a brilliant botanical artist, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look" (Hunt). Born in Heidelberg in 1710, he originally worked as a gardener and practised drawing in his spare time. His artistic abilities led him to the service of a Regensburg banker named Leskenkohl, and it was during this period that Trew met… Read More
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Laurus [Laurel]

Laurus [Laurel]

by EHRET, After George Dionysius (1710-1770)

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[Nuremberg], 1773. Engraving, coloured by hand, by J.J..Haid. Very good condition. A very fine image from Trew's 'Plantae Selectae', one of the greatest of all eighteenth-century botanical books, drawn by the greatest of eighteenth-century botanical artists, George Dionysius Ehret. Linnaeus, wrote to Trew, in Latin, that "The miracles of our century in the natural sciences are your work of Ehret's plants...nothing to equal them was seen in the past or will be in the future." Christoph JakobTrew, a physician and botanist, had for a number of years been an admirer of Ehret's work. Ehret, a brilliant botanical artist, was unrivalled in his ability to "achieve realism, majesty, ineffable colour, all in one breathtaking look." (Hunt). Born in Heidelberg in 1710, he originally worked as a gardener and practised drawing in his spare time. His artistic abilities led him to the service of a Regensburg banker named Leskenkohl, and it was during this period that Trew met Ehret. Trew was to remain a friend and… Read More
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Rivina canescens (Rivina humulus, Rouge Plant)
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Rivina canescens (Rivina humulus, Rouge Plant)

by EHRET, Georg Dionysius, attr. (1704-1770)

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Bodycolour on vellum mounted on thin card with green painted frame, unsigned. Caption "Sp[ecies] Pl[antarum] p. 177 [by Linnaeus] Drawing numbered 134, lower right. Auction cutting of unknown date or auction house (though possibly Sotheby's, 1960's, 70's) on verso attributes the painting to Ehret. Rare watercolour on vellum, unsigned, attributed to Georg Ehret. The distinctive lettering, wording, numbering and painted mount, as well as the exquisite handling of the botanical portrait itself indicate beyond reasonable doubt that this is the work of Georg Dionysius Ehret, the great 18th century German botanical artist, who lived and worked in England for the last 34 years of his life. This fine, accomplished watercolour drawing undoubtedly comes from his English years and is one of the rich trove of drawings that was collected in albums (hence the number in the lower right corner), and then later dispersed as the virtuoso aristocratic collectors of the era passed away. Created in a happy conjunction of… Read More
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The Case of Saint Edmund's-Bury. The Honble Carr Hervey, Esq; and Aubrie Porter, Esq; Sitting...

The Case of Saint Edmund's-Bury. The Honble Carr Hervey, Esq; and Aubrie Porter, Esq; Sitting Members, against Jermyn Davers, Esq; and Gilbert Affleck, Esq; Petitioners [caption title]

by [BRITISH ELECTIONS]

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London, 1714. Broadsheet, 15¾ x 12¼ inches. [1]p., plus printed docket title on verso. Disbound. Early folds and early stab holes in left margin. Small portion of inner margin excised, with no loss to text. Very light foxing and offsetting. A 1714 petition on the subject of direct, political representation A rare and interesting British political petition relating to the right of burgesses to serve in Parliament for St. Edmundsbury, Suffolk. The document traces the political structure and representation of St. Edmundsbury from ancient times through the establishment of the town as a free borough by King Richard II, its charter that soon followed, and a controversy over rights to electing members of Parliament beginning in 1680. The petitioners write that the controversy is based on the question of "In whom the right of Election Resides, whether in the Freemen and Inhabitants of the said Town...or in the Alderman, Capital Burgesses, and Burgesses of the Common-Council." Parliament would decide upon… Read More
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