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Sunday, May 21, 2017

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Lot 4002


Details: MORAN, Thomas (1837-1926). Grand Canyon of Arizona - From Hermit Rim Road. New York: Printed by American Lithographic Co. and Published by Atchison, Topeka and Santa Fe Railway System, 1913. Color-printed lithograph. Sheet size: 27 x 35".

This majestic print is the largest and most dramatic of Thomas Moran's printed works.

It was published by the Atchison, Topeka, and Santa Fe Railroad in 1912, after the original oil commissioned for (and still owned by) the line. It shows a tremendous sweep of the scenery of the Grand Canyon from the Hermit Rim, with the bright colors of the Canyon shown dramatically against the turbulent sky.

Thomas Moran, famous for his superb landscapes of the West, first painted the Grand Canyon in 1873 when he painted his "Chasm of the Colorado," which he sold to Congress the following year. In 1892 he visited the Canyon as a guest of the Santa Fe Railroad, whose line now brought tourists within easy reach, and painted a large canvas for the line in return for a free trip. The SFRR completed a spur line to the rim in 1901, and consistently sponsored "artist's excursions" there from 1901 to 1912, as well as purchasing paintings for promotional efforts. In 1912 the railroad capped twenty years of association with Moran by commissioning this picture and producing this large chromolithograph.

Almost all copies of this Moran print were soon trimmed and framed, and distributed by the SFRR as promotional gifts. Few of these have survived, generally being badly framed, usually without glass, and displayed in poor conditions. A small number remained in the archives of the railroad, and so have retained their untrimmed and pristine state. The present copy is in this uncirculated condition. A fine copy of Moran's most striking printed image.

Nancy K. Anderson, ed., Thomas Moran, pp.301,320 (detail)

Condition / Notes:
Lot 4003


Details: CATESBY, Mark (1683-1749). [The Cat Bird] Muscicapa vertice nigro with Sweet Pepperbush. [Pl. 66, Vol. I]. London: printed for Benjamin White, 1771 [Third edition]. Hand-colored copper engraving, on fine laid paper. Very good condition. Plate mark: 14 x 10". Sheet size: 20 1/8 x 13 7/8".

A fine image from Catesby's 'The Natural History of Carolina, Florida, and the Bahama Islands', "the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species" (Hunt)

Part of the family of mimic thrushes that includes the brown thrasher and mockingbird, the catbird is commonly found in southern Canada as well as the central, eastern and southern regions of the United States. Catesby observes in his accompanying text that "[t]his bird is not seen on lofty trees; but frequents bushes and thickets; and feeds on insects. It has but one note, which resembles the mewing of a cat; and which has given it its name. It lays a blue egg, and retires from Virginia in winter." (Feduccia, Catesby's Birds of Colonial America (1985), p. 103) In this stunning print, the charming catbird is pictured perched on a thin stem of sweet pepperbush, a shrub that thrives in damp areas.

Trained as a botanist, Catesby travelled to Virginia in 1712 and remained there for seven years, sending back to England collections of plants and seeds. With the encouragement of Sir Hans Sloane and others, Catesby returned to America in 1722 to seek materials for his 'Natural History'; he travelled extensively in Carolina, Georgia, Florida, and the Bahamas, sending back further specimens. His preface provides a lengthy account of the development of this work, including his decision to study with Joseph Goupy in order to learn to etch his plates himself to ensure accuracy and economy.

A lovely and important work, embodying the most impressive record made during the colonial period of the natural history of an American colony. The most significant work of American natural history before Audubon's Birds of America.

Cf. Anker 95; cf. Clark I:55; cf. Dunthorne 72; cf. Fine Bird Books (1990), p. 86; cf. Great Flower Books (1990), p.85; cf. Meisel III:340; cf. Nissen BBI 336, IVB 177; cf. Sabin 11509; cf. Stafleu & Cowan TL2 1057; cf. Wood p. 282; cf. Amy Meyers and Margaret Pritchard, Empire's Nature, Mark Catesby's New World Vision, Williamsburg, 1998; cf. Feduccia, Catesby's Birds of Colonial America, pp. 103-4.

Condition / Notes:
Lot 4004


Details: 3Pcs WINTER, George Simon. [3 Framed Dressage Prints]. Nuremberg: Published by Endter, 1678. Engraving by C. N. Schurk. Printed on laid paper. Sheet size: 8 1/4 x 12 7/8" Frame size (up to): 13 1/2 x 17 1/2".

Three beautifully rendered plates from George Simon Winter's seminal publication on 17th-century equestrian dressage and horse rearing "Bellerophon, sive eques peritus..."

Also known as Winter von AdlersflŸgel, George Simon Winter was a veterinarian and the director of several German stud farms including the WŸrttemberg stud farms of GŸterstein, Offenhausen. In addition to Bellerophon, he published an important treatise on veterinary medicine in 1674 that included several plates illustrating various veterinary instruments.

Published in both German and Latin editions, Bellerophon was comprised of numerous of superb engravings by P.P. Troschel and Cornelius Nicolas Schurtz depicting a variety of equestrian training techniques, stances, and the more humane, malleable bits Winter advocated be used for horses. Although espousing slightly different methods of training, specifically regarding the type of bit used in dressage, this important work was published in the tradition of previous influential publications on equitation such as Federico Grisone's Gli ordini di cavalcare (1550) and Antoine Pluvinal's Le Mange Royal (1623).

Cf. Lipperheide 2913; Brunet V, 465;

Condition / Notes:
Lot 4008


Details: UNITED STATES - COLTON, J.H. (1800-1893). Colton's County and Township Map of the States of Illinois, Wisconsin, Minnesota, Iowa and Missouri, with parts of Indiana, Michigan, Kansas and Nebraska. New York: 1864. Folding pocket map, period hand-coloring in outline. Folds into publisher's blindstamped cloth, title stamped in gilt on the upper cover. Sheet size: 37 x 28 1/2".

Rare large-scale pocket map of the midwest issued during the Civil War

This large pocket map of the midwest, issued during the Civil War, extends as far west as the eastern counties of Kansas and Nebraska, with the easternmost portion of Dakota Territory shown in the upper left. The map extends as far east as Indiana and western Michigan. The map is quite detailed, with each state divided into counties with many cities and towns named. Many roads and railroad routes are shown, the latter extending as far west as St. Joseph, Missouri. At the time of this map's publication, this vast region east of the Great Plains was in a period of rapid development.

Phillips, A List of Maps of America, p. 913

Condition / Notes:
Lot 4009


Details: REMINGTON, FREDERIC. [The Last Stand]. c. 1900. Photolithograph, proof before titles. 20 3/4 x 27 1/4" Signed in plate.

A highly dramatic scene of six mountain men fighting for their lives encircled by mounted Indians, from a painting done about 1896.

Condition / Notes:
Lot 4011


Details: ANONYMOUS. Watercolor study of Roses and Birds. circa 1834. Watercolor. Painted on Whatman paper dated 1834. In excellent condition with the exception of a small tear on the right edge of sheet. Small tear on bottom edge. Sheet size: 19 5/8 x 15 1/4".

A stunning watercolor study of birds and roses, painted on both sides of the sheet.

Unfortunately we have not been able to discover any information concerning the artist of this charming watercolor. It is numbered and titled within the image but it bears no signature or date. It is obviously from the hand of an accomplished amateur painter who had a natural talent design and keen eye for detail. Amateur animal and flower painting became extremely popular during the late eighteenth and early nineteenth century as a favored pursuit for aristocratic women. Painting was viewed as a necessary talent for young women, and was eagerly pursued and practiced by the upper classes. This skillful painting appears to be a watercolor study of an illustrated natural history text. Published scientific texts such as this were printed throughout the eighteenth and nineteenth century and commonly included illustrations of both flora and fauna specimens. The numbering and titles further confirm that this is a study from a printed source, since this method of identifying specimens was typically used in published volumes. Lovingly rendered and carefully painted, this skillful watercolor is a true work of art. The artist has painted on both sides of this sheet.

Condition / Notes:
Lot 4017


Details: CURTIS, Edward Sheriff (1868-1952). A Burial Platfrom - Apsaroke. [Cambridge, Mass.: the University Press, 1907-1930]. Photogravure after Edward Curtis, printed by John Andrew & Son. Printed on Van Gelder paper. Very good condition, paper toned. Image area 5 3/8 x 7 1/4". Sheet size: 9 1/2 x 12 3/8". Inlaid wood frame: 17 1/4 x 18 1/8".

An evocative image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities...[Curtis] has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wild life he commemorates. He has lived on intimate terms with many different tribes of the mountains and the plains. He knows them as they hunt, as they travel, as they go about their various avocations on the march and in camp. He knows their medicine men and their sorcerers, their chiefs and warriors, their young men and maidens. He has not only seen their vigorous outward existence, but has caught glimpses, such as few white men ever catch, into that strange spiritual and mental life of theirs; from whose inner most recesses all white men are forever barred...." (Theodore Roosevelt, Foreword to Volume I)

"In stature and in vigor the Apsaroke, or Crows, excelled all other tribes of the Rocky Mountain region, and were surpassed by none in bravery and in devotion to the supernatural forces that gave them strength against their enemies" (Curtis, Volume IV). Originally planters from the upper Midwest, they inhabited the Plains and Prairies region of the United States, where they became hunters and skilled horsemen.

Edward Curtis was fascinated by the story of the Native Americans from childhood. His in-depth knowledge of the various tribes increased in parallel with his skill as a photographer during his participation in a number of scientific expeditions in the 1890s. In 1896, Curtis began to take photographs of the Native American tribes (by 1930 he had taken over 40,000 negatives of eighty tribes) and evolve his hugely ambitious plan for a comprehensive work which would illustrate his romantic vision of Native American life before the disastrous impact of European contact. With the enthusiastic support of President Theodore Roosevelt (who wrote the foreword to the present work) and the financial backing of J. Pierpont Morgan (Curtis was introduced to him by Roosevelt), the publishing project finally got under way in 1906. Pierpont Morgan died in 1913 just before the completion of the ninth volume, but his son agreed to continue underwriting the project; between them, they eventually contributed about a third of the $1,500,000 cost. What had originally been projected to take five or six years eventually stretched to twenty-three, finally reaching a conclusion in 1930 but leaving Curtis a broken and bankrupt man. Nonetheless, his grand design was completed, and his work remains as his monument.

Cf. Naef & Goldschmidt The Truthful Lens 40; cf. Howes C-965.

Condition / Notes:
Lot 4022


Details: ENSIGN, BRIDGMAN & FANNING. Map of Wisconsin. New York: Ensign, Bridgman & Fanning, 1856. Full colored map folding into embossed red cloth with gilt stamped title. Inset map of Milwaukee, and an inset County Population chart comparing 1840 to 1850. A few stains and tears at folds. Sheet size: 18 7/8 x 21 3/4".

A handsome, early statehood map of Wisconsin which shows the development of the state as it grew northward and westward.

Condition / Notes:
Lot 4024


Details: 2Pcs POHL, Johann Baptist Emanuel (1782-1834). PAIR: Siphocampilus psilophyllus [&] Canala heliotropoides. [Pl. 176 & 142]. [Vienna: 1826-1833]. Lithographs, colored by hand, by Wilhelm Sandler. Image size (including text): 14 1/8 x 9 1/2". Sheet size: 20 3/4 x 13 3/4".

Very fine images of Brazilian exotics, from the deluxe, large-paper, hand-colored issue of Pohl's masterpiece.

Pohl's magisterial 'Plantarum Brasiliae', one of the most important Brazilian floras, was based on observations and collections that Pohl made while travelling in Brazil from 1817 to 1821. Published upon his return to Vienna, the plates were issued as outline lithographic drawings, or, as here, fully hand-colored pictures printed on larger sheets of paper. Pohl was curator of the Vienna Natural History Museum and the Vienna Brasilian Museum.

Cf. Cleveland Collections, 928; cf. Dunthorne, 226; cf. Great Flower Books (1990), p.125; cf. Nissen, BBI, 1551; cf. Pritzel, 7231; cf. Stafleu & Cowan,TL2, 8103.

Condition / Notes:
Lot 4026


Details: KIRMSE, MARGUERITE (1885-1954). The Champion. 1920's. Etching. Titled and signed in pencil. Platemark: 9 3/4 x 7 1/2", Sheet: 14 1/2 x 12 1/2".

Marguerite Kirmse was born in England, but visiting America on vacation in her early twenties, she decided to stay. Drawing animals, particularly dogs, began as a pastime and, naturally talented, she became one of the 20th century's finest dog portrait makers.

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