Dorothy Sloan—Rare Books AUCTION TWENTY-THREE
AUCTION
Thursday & Friday, April 4 & 5, 2013 10:00 a.m. & 2:00 p.m., each day
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EXHIBITION
Tuesday & Wednesday, April 2 & 3, 10:00 a.m. to 5:00 p.m., each day
Copyright 2013 Dorothy Sloan—Rare Books, Inc.
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Following is the text of the catalogue of items to be sold at private auction at the dates and times listed above. Please peruse our illustrated online catalogue, available at www.sloanrarebooks.com. The online catalogue includes several thousand images not present in this version. If you require assistance or more information than is provided
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“Maps break down our inhibitions, stimulate our glands, stir our imagination, loose our tongues. The map speaks across the barrier 0f language;
it is sometimes claimed as the language of geography."
CARL O. SAUER
“The Education of a Geographer” 1956
Dorothy Sloan—Rare Books, Inc. ~ Box 4825 Austin, Texas 78765-4825 Phone 512-477-8442 ~ Fax 512-477-8602
rarebooks@sloanrarebooks.com ~ www.sloanrarebooks.com
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EXCEEDINGLY RARE EARLY ENTIRELY ENGRAVED MEXICAN BOOK
REPRISE OFTHE AGESOF MAN GENRE
1. [AGES OF MAN]. Soneto. [With poem below, commencing]: Pídeme de mi mismo el Tiempo Cuenta | Sí á dar voy, la Cuenta pide Tiempo | Que quien gasto sin Cuenta tanto Tiempo, | ¿Como dará sin Tiempo tanta Cuenta?.... Mexico MDR Año de MDCCCIII. Mexico, 1803. 14 leaves printed on rectos, from 14 copper- engraved plates by N. Cobo (alternately Covo) and Garrido, after artwork by
Coronel, Altarriba, Rosi, and Bonet. Printed entirely from engraved plates. 14.6 x 9 cm, original full mottled calf, spine and covers gilt-rolled. Gilt slightly rubbed in a few places, corners lightly bumped. Hinges open, but holding, front flyleaf with closed tear, several plates with short marginal tears cleanly repaired, some plates lightly water stained, one plate with small ink stain in lower margin. Plate versos strengthened with translucent white wash. Overall a very good copy with strong impressions and in a handsome contemporary binding. Contemporary ink
signature of F. Morales on front flyleaf. An exceedingly rare and interesting illustrated work. Single copy located by OCLC in Biblioteca Nacional España, but engraved title only.
List of Engravings
All measurements are image size. All within framed borders.
[Plate 1 (allegorical title)] Soneto. Pídeme de mi mismo el Tiempo Cuenta.... [below frame] J Coronel le dibu | N. Covo. 13.5 x 7.8 cm. At bottom allegories of life and death, including winged archetypal Satan figure (with woman’s head and breasts, wings, and cloven hooves), hour glass, scythe, extinguished candle, the cord and shears of the Fates.
[Plate 2] Un Año | Es un relox la vida.... [below frame] J Coronel | N. Covo. 13.5 x 7.8 cm. Mother and child seated in an elegantly appointed room in front of a window and a large clock.
[Plate 3] Seis años. | Salto y brinco en años tiernos.... [below frame] F. Coronel del
| N. Cobo. gr. 13 x 7.7 cm. Two children cavorting, the one in the foreground riding a stick horse, and the one in the background flying a kite.
[Plate 4] Diez años. | En medio de nuestro juego.... [below frame] Altarriba del. | Garrido gr. 12.7 x 7.5 cm. Two stylishly dressed young boys embrace in a street, one holding a schoolbook; a dog slouches in the foreground.
[Plate 5] Diez y seis años. | La Musica me deleita.... [below frame] Coronel del. | Garrido gr. 12.5 x 7.3 cm. An elegant buxom young lady in a fancy gown sits before a clavichord while a young man peeks through a doorway.
[Plate 6] Veinte años. | Indomable potro soy.... [below frame] F. Coronel del. | N.
Cobo gr. 13 x 7.8 cm. A young, amorous, richly dressed couple walks arm in arm in a landscape.
[Plate 7] Trenta años. | Oy mi brazo valerosa.... [below frame] J. Coronel del. | N.
Cobo gr. 12.7 x 7.5 cm. A dashing matador, sword and cape in hand, dominates the foreground, while in the background, a team of horses drags away the bull’s
carcass.
[Plate 8] Quarenta años. | Soi Leon á los quarenta.... [below frame] J. Coronel del. | N. Cobo gr. 12.7 x 7.5 cm. An heroic military officer triumphantly holds his
swagger stick in his left hand while signaling with his right, against a backdrop of dead men and horses.
[Plate 9] Cincuenta años. | Si de mi ciencia el consejo.... [below frame] Rosi del. | Cobo sc. 12.7 x 7.5 cm. A professional man sits behind a desk and in front of a book case while consulting with a client.
[Plate 10] Sesenta años. | Hasta aora agitatos siempre.... [below frame] Altarriba del. | Cobo sc. 12.7 x 7.5 cm. A man seated at a table upon which gold coins and bags of gold sit reaches for another bag held by a second man who stands in front of an open chest full of bags of gold.
[Plate 11] Setenta años. | Al cuidado de mi vida.... [below frame] Rosi dib. | Cobo gr. 12.5 x 7.4 cm. A robed figure seated in a chair in front of a bed mixes a potion in mortar and pestle; a rosary hangs from his left wrist.
[Plate 12] Ochenta años. | No teneis de que quejaros.... [below frame] Bonet dib. | Cobo gr. 12.5 x 7.4 cm. A physician, whose image is reflected in a mirror, tends to his patient seated in front of a foot warmer.
[Plate 13] Noventa años. | Dos infancias tiene el hombre.... [below frame] Rosi del. | Cobo gr. 12.5 x 7.4 cm. An old man supported by a cane and a young boy play with a whirligig in an outdoor setting; a house with smoking chimney in
background.
[Plate 14] Cien años. | Mi memoria te asustaba.... [below frame] Bonet del. | Cobo gr. 12.5 x 7.4 cm. Death in the form of a skeleton with a scythe draws back the bed curtains to claim his victim; an extinguished candle lies on the floor.
First edition of one of the earliest entirely engraved Mexican imprints. Not in Mathes (La Ilustración en México colonial), Medina, Palau, Romero de Terreros (Grabados y grabadores in la Nueva España), or other standard sources. The engravers and artists are not listed in Bénézit. Carrillo y Gariel (Grabados de la Colección de la Academia de San Carlos) provides a terse entry on an engraver by the name of Garrido (p. 67).
This unusual book is another manifestation in the ancient tradition of “Ages of Man” literature, the best known of which in the English canon is Shakespeare’s
“Seven Ages.” The immediate inspiration for this book has not been identified. This
entirely engraved book consists of illustrations explained by a chronological age and three lines of poetry about that particular age of human life. The book moves from year one to year one hundred, with the first five plates bringing the subjects up to twenty years of age and then proceeding by decade after that. The
illustrations depict activities or attitudes appropriate to every age (play, school, courtship, soldiering, sickness, death, etc). The final engraving illustrates a man lying in bed while Death, in the form of a skeleton, pulls back the bed curtains. The engravings are detailed and exquisite, capturing the modes and mores of the time, without being moralistic. Despite the lack of pietistic moralizing, the work clearly seems intended as a devotional, urging the reader to consider the ultimate end of life, no matter at what stage this book might come into one's hands. Unlike the Danza de la muerte tradition, wherein Death cuts off the lives of people of any rank at any point, this text contemplates a full life, although making it clear that all life, no matter how long, ends in death. ($4,000-8,000)
1920S SOUTHERN PACIFIC RR POSTEROFTHE ALAMOBY MAURICE LOGAN
2. [ALAMO]. LOGAN, Maurice (artist). The Alamo San Antonio Texas Southern Pacific [in image at lower right] Maurice Logan] [at lower left margin] A-32-1-15- 29-3000. N.p.: Southern Pacific Railroad, 1929. Lithograph poster printed on light- weight coated card stock, 58.5 x 40.5 cm. Light marginal wear and slight
unobtrusive creasing, overall very good, as-issued condition, excellent color, well preserved, and very beautiful.
First printing. This scarce 1920s Southern Pacific Railroad Texas travel poster was published and distributed to promote the state of Texas as a travel destination and the Southern Pacific Railroad Line as a way to get there. Southern Pacific did few full color ads. Artist Maurice Logan created a series of travel
posters for the Southern Pacific Railroad in the mid 1920s featuring different destinations across the American Southwest and the Pacific Coast. These are among the most beautiful and highly sought-after travel posters of this period and a wonderful example of Southern Pacific’s advertising campaign. Logan’s poster is a striking image of the Alamo in shadow and sunlight in his American
Impressionist style with Fauvist bright colors and short, quick brush strokes.
Logan and five other California plein air painters joined together to form the
“Society of Six,” a group of artists whose work was categorized first and foremost by bold colors.
Hughes, Edan Milton, “Artists in California: 1786-1940,” San Francisco:
Hughes Publishing Company, 1989:
Maurice Logan (1886-1977), born in San Francisco, California (or near Calistoga) on February 21, 1886, began his art studies at age ten with local artists Clara Cuff and Richard Partington. After the disaster of 1906, he attended the San Francisco Institute of Art for seven years under Wores, Stanton, and Van Sloun. He furthered his studies at the Art Institute of Chicago before returning to California to enroll at the CCAC where he later
taught from 1935-43. During the 1920s he was active with the Society of Six, a group of artists who exhibited at the Oakland Art Gallery. In the 1930s he abandoned his intensely colorful palette of the 1920s and used a more subdued, gray one. His subjects often were Mother Lode ghost towns, Arizona desert scenes, and sailing scenes. Best known for his watercolors, he was equally adept with oil.
For more on Logan, see: http://www.tfaoi.com/aa/2aa/2aa669.htm ($750-1,500)
FIRST LITHOGRAPHSOF THE ALAMOFROM EYEWITNESS DRAWINGS
3. [ALAMO]. UNITED STATES.SECRETARY OF WAR (W.L. Marcy).
[Government document cover leaf] Report of the Secretary of War,
Communicating, in Compliance with a Resolution of the Senate, a Map showing the Operations of the Army of the United States in Texas and the Adjacent Mexican State on the Rio Grande; accompanied by Astronomical Observations, and
Descriptive and Military Memoirs of the Country. March 1, 1849. Read. February 18, 1850. Ordered to be Printed, and that 250 Additional Copies be Printed for the use of the Topographical Bureau. [Half-title] Memoir Descriptive of the March of a Division of the United States Army, under the Command of Brigadier General John E. Wool, from San Antonio de Bexar, in Texas, to Saltillo, in Mexico. By George W[urtz] Hughes, Captain Corps Topographical Engineers, Chief of the
Topographical Staff. 1846. [Washington: Government Printing Office, 1850]. 31st Congress, 1st Session, Senate Executive Document 32. [1-4] 5-67 [1, blank] pp., 8 lithograph plates (after watercolors by Edward Everett), 2 folding lithograph maps.
8vo (22.8 x 14.3 cm). Dark brown calf over marbled boards, gilt-lettered red leather spine label. Occasional light foxing, otherwise fine.
Maps
Map Showing the Line of March of the Centre Division Army of Mexico, under the Command of Brigr.Genl. John E. Wool, from San Antonio de Bexar, Texas, to Saltillo, Mexico....1846. Neat line to neat line: 49 x 46.3 cm; overall sheet size: 60 x 48 cm.
A bit of light foxing at top left, else very fine.
Map Showing the Route of the Arkansas Regiment from Shreveport La to San Antonio de Bexar Texas. Neat line to neat line: 29.5 x 43.6 cm. (extending above neat line at top right); overall sheet size: 30.2 x 47.1 cm. Very fine.
Plates
San Antonio de Bexar 1846 [lower right, below neat line] C.B. Graham, Lithog.
Neat line to neat line: 10.3 x 16.9 cm; image & title: 11.4 x 16.9 cm. Light foxing, mainly confined to blank margins, otherwise fine.
Ruins of the Church of the Alamo, San Antonio de Bexar. Scale 10 feet to an Inch.
[below neat line] Drawn by Edwd. Everett | C.B. Graham, Lithog. Neat line to neat line: 10.3 x 16.9 cm; image & title: 11.4 x 16.9 cm. Very light foxing, mainly
confined to blank margins, otherwise fine.
Interior View of the Church of the Alamo. [below neat line] Drawn by Edwd. Everett
| C.B. Graham, Lithog. Washn. Neat line to neat line: 10.3 x 16.9 cm; image & title:
11.4 x 16.9 cm. Very light foxing, mostly confined to blank margins, otherwise fine.
Plan of the Ruins of the Alamo near San Antonio de Bexar 1846. Drawn by Edwd.
Everett. Overall sheet size: 22.5 x 14 cm. Other than a few light foxmarks, very fine.
Mission Concepcion, near San Antonio de Bexar [below neat line] C.B. Graham, Lithog. | Drawn by Edwd. Everett. Neat line to neat line: 10.3 x 17 cm; image &
title: 11.5 x 17 cm. Minor foxing, else fine.
Mission of San Jose near San Antonio de Bexar [below neat line] Drawn by Edwd.
Everett | C.B. Graham, Lithog. Neat line to neat line: 10.4 x 16.9 cm; image & title:
11.3 x 16.9 cm. Light foxing mainly confined to blank margins, otherwise fine.
Church near Monclova. [lower right, below border] C.B. Graham, Lithog. Neat line to neat line: 10.3 x 16.9 cm; image & title: 11.3 x 16.9 cm. Light foxing mainly confined to blank margins, otherwise very fine.
Watch Tower near Monclova. [lower right, below border]: C.B. Graham, Lithog.
Neat line to neat line: 10.3 x 16.9 cm; image & title: 11.3 x 16.9 cm. Light foxing mainly confined to blank margins, otherwise fine.
First edition (often this report is described as a limited edition of 250 copies, but the statement on the document is that 250 additional copies were printed for the use of the Topographical Bureau). Garrett & Goodwin, The Mexican-American War, p. 296. Howes H767. Raines, p. 121. Sandweiss, Stewart & Huseman,
Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848, pp.
132-134, Illustrations 18, 19 & 20 (first, second, and next-to-last plates listed above). Schoelwer, Alamo Images: Changing Perceptions of a Texas Experience, pp.
22, 29, 32, 34, 36, 46 (reproduction of second plate listed above, Ruins of the Church of the Alamo, San Antonio de Bexar), 47 & Plate 3 (illustrating Everett’s original watercolor used to make the third plate listed above, Interior View of the Church of the Alamo). Tate 2196: “Contains brief assessment of Indian tribes, especially Comanche and Lipan Apache attacks along the borderlands.” Tutorow 1634. See also: Richard E. Ahlborn, San Antonio Missions: Edward Everett and the American Occupation, 1847 (Fort Worth: Amon Carter Museum, 1985).
Some of the lithographs in this work, including the Alamo images, are after the work of London-born artist Edward Everett (1818–1903), who came to the United States in 1840 and served in the Mormon War and the Mexican-American War. “His landscape sketches resemble those produced by the Hudson River School artists. Despite definite artistic ability, Everett identified himself as a
‘mechanical engineer’” (Handbook of Texas Online: Edward Everett).
With thanks to Dr. Ron Tyler for the following superb notes from his preliminary study of nineteenth-century lithographs of Texas:
The other Mexican war lithographs that relate to Texas are the work of Sergeant Edward Everett, a member of the Quincy Riflemen, First Regiment of Illinois Volunteers, who arrived at Port Lavaca in August, 1846, with General John E. Wool’s Centre Division of Taylor’s Army of Occupation. With Wool’s army, Everett marched to San Antonio over roads made boggy by twenty days of rain that fell in late July and early August. After recovering from the arduous march, he began to describe his surroundings in the
“military frontier post” in which he found himself. “The place was highly picturesque, being irregularly built, and having an Oriental style...from the Moors of Old Spain,” he noted. Because of his interest in architecture, he was quickly assigned the task of “making drawings of buildings and objects of interest, particularly...of San Antonio,” and was given leaves of absence when necessary to accomplish his work.
In September Everett made his first drawing of the now-famous Alamo, which had been the subject for several other artists, and was then in ruins.
Then he turned to the more architecturally interesting Mission San José,
“remarkable,” he noted, “for its façade, which was elaborately carved in stone, scroll work, supporting statues of the Virgin and Saints, surrounding the entrance and the central window.”
Everett’s documentation of the missions was interrupted on September 11, when he was wounded in a fandango fracas while on guard duty. He spent the next month in bed and was unable to accompany General Wool’s command when it marched off to Mexico. Everett was reassigned to the Quartermaster’s Department and the following spring participated in the renovation of the Alamo so that it could be used by the military as
storehouse, offices, and workshops. He also did a watercolor of Mission Concepción before he received his honorable discharge in June, 1847.
Maj. George W. Hughes, chief topographical engineer for Gen. Wool, included four lithographs of Everett’s watercolors, Ruins of the Church of the Alamo, Interior View of the Church of the Alamo, Mission Concepción near San Antonio de Bexar, and Mission of San Jose near San Antonio de Bexar, in his published report of Wool’s march to Mexico. Among the eight lithographs in the book, Hughes also included a view of San Antonio by an unidentified artist, two pictures made near Monclova, Coahuila, and a plan of the Alamo by Everett. Curtis Burr Graham of Washington, who had
successfully bid on the lithographic illustrations for James W. Abert’s report on New Mexico and William H. Emory’s Notes of a Military Reconnoissance, from Fort Leavenworth, in Missouri, to San Diego, in California in 1848, made the lithographs for Hughes’ report as well.
The lithograph of the Alamo façade made after Everett’s watercolor, now in the Amon Carter Museum collection, was not the first published picture of the famous structure, but it was the first to be lithographed from an eye-
witness drawing. Drawn on the stone by Graham, the lithograph is a faithful copy of the watercolor, but does have some differences, notably that the bright façade has been darkened and the rocks and foliage rearranged by the lithographer.
The interior of the Alamo, drawn from the north looking westward through the nave and over the interior wall of the façade, is a more interesting
composition. Perhaps with an eye toward the restoration that would soon be undertaken, Everett recorded some of the details of the interior still intact, despite the poundings of several battles. Most obvious is the extent of damage and deterioration, but also apparent, as Richard E. Ahlborn points out, are significant architectural details such as the place of each voussoir in the recessed arch of the north transept, recesses for supporting stones for the choir loft, and the doorway to the baptistry. Beyond the wall, Everett showed the dome of San Fernando church as well as the roofs of a few houses around the Main Plaza of old San Antonio across the San Antonio River.
The picture of Mission Concepción is somewhat confusing because Everett shows vaulted rooms to the right of the façade that apparently cannot be correlated to a plan drawn in 1890; however, the view is quite similar to a picture made two years later by the soldier-artist Seth Eastman. Everett also provides the first documentation of the mission’s painted façade, which is lost in the print because it is not reproduced in color.
The lithograph of San José, the most architecturally elaborate of the San Antonio missions, is, in Ahlborn’s words of “a ponderous, lonely structure”
that is something of a change from Everett’s original watercolor, which was much brighter. Again, there are details that cannot be correlated to the mission as it now stands, but, in all, the Everett watercolors, and lithographs made from them, are substantial documents of the missions at a time of considerable abuse and neglect.
The San Antonio de Bexar lithograph—probably also from a view by Everett although he specifically receives credit on the other four, but not on this one
—shows the city from the northern bank of the river as it curves around the eastern side of the city. The artist’s perspective is the northwest side of the city looking in a southwesterly direction. San Fernando church can be seen dominating the horizon line in the distance.
($750-1,500)
“LONE STAR BALLADS”—A RARE COMPILATION OF CONFEDERATE & TEXAS SONGS
WITHAN IMPORTANT TEXAS RANGER PROTEST BALLAD
4. ALLAN, Francis D. (compiler). Allan’s Lone Star Ballads. A Collection of Southern Patriotic Songs Made during Confederate Times, “Let me write the
Ballads of a Nation and I care not who makes the Laws.”—Montesquieu. Compiled and Revised by Francis D. Allan. Galveston: J.D. Sawyer, Publisher, 1874. [i-iii] iv, [5] 6-222 [2, ads] pp. 16mo (15 x 11.5 cm), original gilt-decorated green cloth with gilt star and title on upper cover. Spine lightly chipped at extremities, lower cover moderately bubbled, general light wear to binding, endpapers browned, front endpaper with tear (no losses), overall a good copy of a very scarce book. Red ink stamp of Thos. Goggan & Bros., Galveston, on title.
First collected edition, with many previously unpublished songs added (e.g.
“The Rebel Prisoner” and “The Frontier Ranger”). Allan originally published a much shorter form (62 pp.?, see below) at Galveston-Houston in 1863 under title Allen’s [sic] Lone Star Ballads, No. 1. The 1863 Confederate imprint appeared in very fragile pamphlet form and is excessively rare. A few of the songs were
published separately, such as “Songs of the Texas Rangers” and Magruder’s “God Bless Our Southern Land.” References to the 1863 edition: Parrish, Civil War Texana 1. Parrish & Willingham 6615. Winkler 506. References to present edition:
Dykes, Western High Spots (“Ranger Reading”), p. 119: “Includes several [ballads]
about the Ranger leaders and companies from Texas in War Between the States.”
Eberstadt 123:3 (quoting Dobie): “A very good collection of patriotic verse of early- day Texas and the Confederacy.” Eberstadt, Texas 162:12. Leonidas Warren Payne, Jr., A Survey of Texas Literature, New York, etc.: Rand, McNally & Company [ca.
1928], pp. 42-43. Raines, p. 6. Winkler 3336.
About two hundred songs are documented, including “The Soldiers’ Song of Pass Cavallo” by C.G. Forshey, C.S. Engineers; “Bombardment and Battles of Galveston (From June 1, 1862, to January 1, 1863)” by S.R. Ezzell, of Capt. Daly’s Company; “The Texas Ranger” by Englishman William Kennedy, Consul at
Galveston in 1836; “Southrons! Hear Your Country Call You” by General A.G. Pike of Arkansas; “The Texas Soldier Boy, by a Lad of Fifteen Years Old, of the Arizona Brigade”; “Song of the Texas Ranger” by Mrs. J.D. Young to be sung to the tune of
“The Yellow Rose of Texas”; “The Horse Marines at Galveston”; “Baylor’s Partisan Rangers” by Mary Ann Wilson, San Antonio; “Ben M’Culloch—He Fell at His Post”
by Ned Bracken; “The Texas Ranger” by R.R. Carpenter, of DeBray’s Regiment;
“Terry’s Texas Rangers” by Captain Estelle; “Hood’s Old Brigade” by Miss Mollie E. Moore; etc. The songs are sometimes accompanied by historical notes, such as the note to the first song in the book “Hood’s Texas Brigade,” which states: “Capt.
Riley commanded a Battery of Irishmen, from North Caroline, and was nearly always attached to Hood’s Brigade. The ‘swarthy old hounds’ refer to his Napoleon guns.”
The songs include not only those relating to Texas, but from all parts of the Confederacy. In addition to Confederate songs, there are songs on early Texas, and a few on the Texas Rangers. “The Frontier Ranger” with words by M.B. Smith of the Second Texas Cavalry (pp. 92-93) is the earliest appearance in a book of a truly Texas Ranger song. Guy Logsdon in The Whorehouse Bells Were Ringing and Other Songs Cowboys Sing (University of Illinois Press, 1989, pp. 55-56) explores variants of the song known to Lomax in Cowboy Songs and Haley in his biography of Charles Goodnight. Logsdon objects to Haley characterizing “The Frontier Ranger” as “doggerel,” stating that the song is, in fact: “A protest ballad from a people who seldom resorted to protest songs. It is a statement protesting the lack
of appreciation from politicians and citizenry. The Rangers received little financial reward, a limited food supply, and no moral support at all except when they were needed.... [It] is a genuine frontier protest song. The first printing appeared under the title ‘The Frontier Ranger’ in Allan’s Lone Star Ballads (1874).... The song refers to ‘going home to the States,’ which implies the song was composed before statehood in 1845.” Logsdon goes on to give the musical score for the ballad. It has been suggested that the earliest published version of this ballad was in the Lone Star and Texas Ranger, a newspaper printed by Joseph Lancaster, located in Brenham, Texas during the 1850s. We have not attempted to verify that claim.
In his introduction, Allan provides a concise statement of his method and purposes in publishing this work:
During the War the Compiler of this little volume published a small pamphlet of Southern War Songs under the title of Allan’s Lone Star Ballads, No. 1, also a number in sheets, with the promise that some day he would issue them, with many never before in print, in a more durable form, for preservation. Until now he has been prevented from making good this promise, through heavy losses, the legitimate result of the war, and which was followed by the wanton burning of all his property by Major G.W. Smith and the Federal Soldiers under his command, at the city of Brenham, in Texas, on the night of the seventh of September, 1866, long after the war was supposed to be over, and from the effects of which he has never
recovered. Many of the songs in hand at that time were also destroyed, and for the past eight years he has been engaged in re-gathering them, with many that he did not have before. For these he has to return his heartfelt thanks to many kind friends, some of them personally unknown to him....
And now, at last, he has the pleasure of offering his little book to the kind regards of all who may think worthy of consideration and preservation the songs so often “sung around the camp-fires” by companions-in-arms who have “fought their last battle” and “passed over the river” from their sight forever.
The twenty-two pages of ads, some of which are pictorial, are useful for Galveston local history studies and certainly give testament to “Cotton was King”
and the booming depot of commerce Galveston was at that time. Advertisers include W.L. Cushing & Moore Eagle Cotton Gin and Machinery Depot, Mendez &
Morales Havana Cigars, J.D. Sawyer Lightning News and Book Dealer (publisher of this book), Anderson & Bennett Photographic Artists, Memphis Cotton and Hay Press, Madame L’Etondal French Dress Maker, J.V. Chaplin Saddle & Harness Maker, Shattuck’s Non-Explosive Solar Oil and Portable Gas Light Depot, The Railroad Ticket Office, etc. Most interesting is the final ad (2 pp.) by author Allan as a subscription book agency, who declares: “No man has a right to bring up his children without surrounding them by Books....” ($125-300)
FIRST PRINTED NOTICE & ILLUSTRATIONSOF XOCHICALCO
BYTHE FATHEROF NATURAL SCIENCE IN MEXICO
5. ALZATE Y RAMÍREZ, Joseph Antonio. Suplemento a la Gazeta de Literatura.
Descripcion de las antiguedades de Xochicalco. Dedicada a los señores de la actual expedicion marítima al rededor del orbe. Escrita por don Joseph Antonio Alzate y Ramirez, Socio de la Real Academia de la Cienicas de Paris, de la Sociedad
Bascongada, y del Real Jardin Botánico de Madrid. Mexico: Por don Felipe de Zúñiga y Ontiveros, 1791. [6], 1-24 pp., 5 folded copper-engraved plates
(antiquities and archaeology at Xochicalco) by Francisco Agüera Bustamante. 8vo (19 x 14.5), disbound (removed from a legajo, with contemporary ink number at top right of first page). Second leaf loose, one plate slightly browned at edge, otherwise very fine, with plates in excellent, dark impressions.
First edition of the first printed notice of the interesting ruins at Xochicalco.
Mathes, Illustration in Colonial Mexico: Woodcuts and Copper Engravings in New Spain 1539-1821 8026 (calling for only 2 folded plates). Medina, Mexico 8026 (also calling for 2 folded plates). Palau 10139n. Sabin 989 (Gazeta). Handbook of Middle American Indians, Vol. 13, Part 2 (Guide to Ethnohistorical Sources), p. 90: “In January, 1788, [Alzate y Ramírez] began publication of his most important
periodical, Gazeta de Literatura, which he continued to publish through October, 1795.... Through the pages of his own periodicals and of the Gazeta de México, Alzate carried on a public scientific conversation and controversy with other Mexican intellectuals of his day, generally enlightening, sometimes very cutting.
He included valuable data on the condition of the Indians at his time as well as some information on Indian antiquities.”
Written under the benign influence of Clavijero, Alzate states that he is in an argumentative mode:
La variedad con que hasta el día se ha hablado de los Indios Mexicanos; el excesivo desprecio con que algunos, aun de los nuestros, acostumbran mirarlos, y especialmente los negros y viles colores con que por lo regular nos los pintan los Autores Extrangeros, me movió, hace algunos años, á indagar su origen, sus usos y costumbres, y en una palabra, todo lo
concerniente á sus Artes, Ciencias &c. con el fin de fixar los diversos juicios de los primeros, manifestar la injusticia de los segundos, y últimamente poner á vista de todo el Mundo la ignorancia y calumnia de los últimos....
¡Dichoso yo si esta corta y desaliñada Memoria que publico, llega á disipar las falsas impresiones que han causado en los Literatos las siniestras noticias que acostumbran dar generalmente a los Extrangeros de los antiguos Indios Mexicanos en sus obras!
Alzate then refutes in no uncertain terms that the earliest Mexican inhabitants were savage barbarians with no skills or intellect. This is an early, important defense of Mexican indigenous civilizations by a priest who embraced the very religion that had done so much to denigrate and destroy native Mexican civilizations. As noted by the Dictionary of Scientific Biography: “He struggled to contradict European opinions regarding the inferiority of American scientific
knowledge.... Many Mexican intellectuals consider Alzate to be the father of modern natural science in Mexico.”
The name Xochicalco, a pre-Columbian archaeological site in western Morelos southwest of Cuernavaca, translates from Nahuatl: “In the place of the House of Flowers.” The site was first occupied by 200 B.C. and developed into an urban trading center by Mayan traders from Campeche in the Epiclassic period (700-900 A.D.). Xochicalco is thought to represent change and fragmentation throughout Mesoamerica after the downfall of Teotihuacan, with elements of what David Drew describes as “a new kind of pan-Mesoamerican culture,” in which architecture and iconography show affinities with Teotihuacan and the Maya
(David Drew, The Lost Chronicles of the Maya Kings, University of California Press, 1999. pp. 375-376). It has been speculated that Xochicalco had a community of artists from various regions in Mesoamerica. Xochicalco, a UNESCO World
Heritage Site, is especially noted for its astronomical observatory in a cave and the Temple of the Feathered Serpent. For more on the site consult: Beatriz de la
Fuente, et al, La Acrópolis de Xochicalco (Cuernavaca: Instituto de Cultura de Morelos, 1995).
A controversial figure, Alzate y Ramírez (1737-1799), Mexican priest, scientist, historian, cartographer, and journalist, was one of the most zealous students of liberal sciences in New Spain in the eighteenth century. More than thirty treatises on various subjects are due to his pen on subjects as diverse as astronomy, physics, meteorology, antiquities, and metallurgy (Catholic
Encyclopedia). For other works by this author see 226 LORENZANA [Y BUITRÓN]
and 451 [MEXICAN PERIODICALS]. ALZATE herein.
For more on engraver Francisco Agüera Bustamante,see item 43 BOLAÑOS herein. ($600-1,200)
FIRST EDITION, SUBSCRIBER'S ISSUE, ORIGINAL BINDING
“THISCOMPILATION HAS LONGOCCUPIED ADISTINGUISHEDPOSITION ASAMASTERPIECE OFDESCRIPTIVETRAVEL. ANSON’SVOYAGE APPEARSTOHAVEBEEN THEMOSTPOPULAR
BOOK OFMARITIME ADVENTUREOFTHEEIGHTEENTHCENTURY”—HILL
6. ANSON, George (Lord Anson), Richard Walter (compiler) & Benjamin Robins (attributed editor). Voyage Round the World, in the Years MDCCXL, I, II, III, IV. By George Anson, Esq; Commander in Chief of a Squadron of His Majesty’s Ships, Sent upon an Expedition to the South-Seas. Compiled from Papers and Other Materials of the Right Honourable George Lord Anson, and Published under his Direction, By Richard Walter, M.A. Chaplain of His Majesty’s Ship the Centurion, in that Expedition. Illustrated with Forty-two Copper-Plates. London: Printed for Author by John and Paul Knapton, 1748. [34], [1] 2-417 [1, blank], [2] pp. (p. 319 misnumbered 219), 13 copper-engraved maps, 12 of which are folded, including one relating to the Pacific: A Chart of the Pacific Ocean from the Equinoctial to the Latitude of 39-1/2d. No. | [below neat line at right] R.W. Seale Sculp. Border to
border: 27.8 x 88.1 cm; 29 folded plates (scenes, views, fauna, plans, boats, naval battles). Total: 42 copper-engraved plates and maps. 4to (26.7 x 21.8 cm), full contemporary mottled calf with gilt ruling, original gilt-lettered terracotta calf spine label, raised bands, original marbled endpapers. Chafed at joints and light shelf wear, light uniform browning and some offsetting, some plates with a few small tears and browning at edges or folds (but generally dark strong impressions and very clean), overall a fine, crisp set in a handsome binding in original
condition. Subscriber Rev. John Linton’s copy, with his ink signature on title (John Wright Linton). Directions to binder not present, as is frequently the case.
Preserved in a grey linen case with yellow printed paper label, matching chemise.
First edition, subscribers’ issue (p. 319 misnumbered 219; plates
unnumbered) of which 350 copies were printed. Barrett, Baja California 2592.
Borba de Moraes, p. 38. Cox I, p. 49 (citing 2 issues, one for the author and the genuine first, with p. 319 misnumbered). Hill I(1), pp. 317-318; II:1718. Kroepelien 1086. National Maritime Museum I:109. Palau 12865. Sabin 1625. Wagner,
Northwest Coast 558, 559.
Unlike the exploring and scientific voyages that would follow, Anson’s voyage was strictly military, intended to disrupt Spanish commerce in the Pacific.
Leaving England with six ships manned by about nine hundred mostly green or decrepit crew members, the expedition nearly ended in disaster before it even reached the Pacific. By the time Anson’s scattered fleet arrived at Juan Fernandez Island, from which his fellow captain Woodes Rogers had rescued Alexander Selkirk just a few decades before, Anson’s force was reduced by more than half.
After raiding along the coast and futilely waiting for the departure of the Acapulco ship, Anson turned west for home with only the Centurion and about two hundred crew members remaining. On the way, however, they captured the Manila Galleon, the cargo of which proved to be worth £500,000 sterling, thereby assuring that all the remaining crew would become rich men on their return to England. “Anson's voyage is remembered as a classic tale of endurance and leadership in the face of fearful disasters, but to the British public of 1744 it was the treasure of the
galleon, triumphantly paraded through the streets of London, which did something to restore national self-esteem battered by an unsuccessful war” (N.A.M. Rodger, The Command of the Ocean: A Naval History of Britain, 1649-1815, New York:
W.W. Norton, 2005, p. 239).
As was often the case during voyages of the time, scurvy was a far more dangerous enemy than any weapon. Anson’s devastating losses prompted James Lind, about the only physician at the time with practical seafaring experience, to bolster his theories, to write his influential 1753 A Treatise of the Scurvy, which he dedicated to Anson (see Garrison-Morton V:3713).
This work was phenomenally popular, went through many editions in
English, was translated into numerous foreign languages (including Russian), and has been republished so many times in so many languages that probably nobody knows how many editions of it have appeared. Four editions came out the first year of publication with sixteen editions by 1781. Anson's voyage laid the groundwork for British voyages in the Pacific for the rest of the century. The work exercised wide influence in many quarters. One of those was apparently in the Spanish court
and in the circles of the Jesuits. According to Wagner (Spanish Southwest 132), the Order was so stung by the criticisms of its behaviour and policies in California that Venegas was allowed to write his classic Noticia de la California (1757), in part to refute accusations that they did not care about the Natives to whom they were supposed to minister but were rather far more interested in the commercial opportunities afforded them by the yearly sailings of the Spanish galleons to and from the East Indies (Anson, pp. 244-246).
The work has been praised for its many finely engraved views, charts, and maps, including several of Mexico (plan, view, coast chart of Acapulco, and view and harbor of Chequetan, modern day Zihuatanejo). Wagner (Cartography of the Northwest Coast of America 557) commented on the intricately rendered Chart of the Pacific Ocean with its striking web of rhumb lines: “The names are mostly Vizcaino names except for San Bernardo and the Punta de Nuestra Señora de los Nubes, applied to Pt. San Lázaro. Numerous errors appear on the map, which, however, was largely copied by later mapmakers, no doubt on the correct
assumption that it was based on a genuine Spanish chart. It has occurred to me that San Bernardo is an error of the engraver for Santa Barbara as that name frequently appeared at that time on Spanish charts. He has C. San Bernardino as his starting point for longitude just like Spanish charts of the north Pacific, and Acapulco is in about 134° and Punta Conception in 109°.” Wagner deemed the map a prototype, noting, “Hereafter referred to as the Anson type.”
The authorship of this famous work has been disputed practically since its publication. Anson gave the account of the voyage that had been compiled by Chaplain Richard Walter (1716?-1785) to his friend Benjamin Robins (1707-1751), who was to see the book through the press. It appears that Walters’ manuscript may have been fairly defective and not consisted of a connected narrative, but was rather a pastiche of extracts from Anson’s journals. Robins, a man of considerable scientific and literary accomplishments, seems to be a logical candidate for the one who put the book in its final form. A projected second volume, which would have been the work of Robins alone, never appeared because the manuscript
disappeared after Robins’ death. Most recently the dispute over authorship is discussed by Glyndwr Williams (Documents Relating to Anson’s Voyage round the World, Navy Records Society, 1967, pp. 230-232), who concludes that Benjamin Robins was chiefly responsible. Whoever wrote it produced a work that “has long occupied a distinguished position as a masterpiece of descriptive travel” (Hill).
($2,500-5,000)
FIRST SEPARATE MAP OF TEXAS INAN ATLAS
7. [ATLAS]. BRADFORD, T[homas] G[amaliel]. A Comprehensive Atlas Geographical, Historical & Commercial by T.G. Bradford. William D. Ticknor, Boston. Wiley & Long, New-York...Entered according to Act of Congres in the year 1835, by Thos. G. Bradford in the Clerks office of the District Court of
Massachusetts [engraved title within ornamental, pictorial border with vignettes, resting on a marble base beneath which is attribution] Drawn by E. Tisdale
Landscapes by W. Croome | Eng. by J. Andrews. Boston & New York, [1835]. [1-4]
5-180 pp. (irregular pagination; many pages are engraved plates or maps included in pagination, without any indication of blank versos; text leaf 64A added to
accompany the map of Texas), 79 copper-engraved plates and maps (including frontispiece and title), most maps with original outline color and border color.
Small folio (32.5 x 26.5 cm), contemporary three-quarter tan sheep, professionally rebacked with new matching tan morocco spine with raised bands and title
lettered in gilt, contemporary marbled end papers. Binding rubbed and corners bumped, interior fine except for scattered light foxing. Ink ownership of Hollis Nult dated 1837 (on rear endpaper). The map includes Texas, the first such published appearance in an atlas. The Bradford map is not difficult to find separately (see item 244 herein), but it is preferable to find the map in situ and with the
accompanying text leaf.
Texas Map
Texas. [left margin outside neat line] 64.A; neat line to neat line: 20 x 26.4 cm;
overall sheet size: 25 x 32.5 cm. Scale: 1 inch = 75 miles. First issue of the first separate map of Texas to appear in an atlas, with early issue points, including the Mustang or Wild Horse Desert shown in south Texas; the Nueces River as the southwestern boundary; land grants indicated instead of counties; and the fact that the town of Austin (founded 1839) is not yet shown. Following the map is a two- page essay in three columns entitled Texas, which gives an overview of the country and discusses Anglo colonization, referring to Stephen F. Austin as its “prime mover” and remarking that “early settlers of Texas were in general those who had been unfortunate in life.” Most of the second page of text is devoted to the
problems the Texans faced and Austin’s petition to the Mexican government, followed by Martin Perfecto de Cos’ July 1835 warning against resistance to Mexican domination. The editors end with the statement: “It is needless to enter into the details of what followed, as they are fresh in the minds of all. Taliaferro, Cartographic Sources in the Rosenberg Library 248: “Locates four settlements in the vicinity of Galveston Bay: Harrisburg, Lynchburg, Liberty, and Anahuac.
Evidently, not all copies of Bradford’s atlas contained this map.” Martin & Martin 31:
The map itself appeared to be copied directly from Austin’s, the only readily available authority.... The map differed from Austin’s primarily in its
prominent display of numerous colonization grants and a plethora of new settlements and towns, indicative of the massive influx of colonists occurring after the publication of Austin’s work. Another significant departure from Austin was the map’s depiction of the Arkansas boundary controversy....
Aside from showing Texas as a separate state, the map [is] historically important for clearly demonstrating the demand in the U.S. for information about Texas during the Revolution and the early years of the Republic. It also serves to confirm the importance of Austin’s map as source for that information.
The first editions of Bradford’s small atlas came out in 1835, apparently published by a consortium of publishers. These atlases enjoyed commercial success, with small format versions appearing in 1835, and a reworked large format version published in 1838. Phillips, Atlases 770. Sabin 7260. Shaw &
Shoemaker 306134. Wheat, Mapping the Transmississippi West, Vol. II, pp. 148- 149 & Entries 408, 409, 410 (citing the maps of the United States, North America, and Mexico, Guatemala, and the West Indies): “The little Bradford maps of 1835, while not important, give the general picture of the West that one would have had as a member of the public as the thirties rolled past their half-way point. Chiefly interesting is the boundary on one of the maps at 54° 40’, while on another map the southern boundary of the Oregon country ends in San Francisco Bay.”
There was no separate map of Texas in the earliest versions of Bradford’s atlas. The other maps in the present atlas show Texas as part of Mexico: [1] United States; [2] Mexico, Guatemala, and the West Indies; [3] North America. A plate at the back entitled Modes of Travelling has an early depiction of a train. “Thomas Gamaliel Bradford (1802-1887) of Boston served as an assistant editor of the America Encyclopedia before entering the field of atlas publishing” (Ristow, American Maps and Mapmakers, p. 270). ($1,000-2,000)
“THEFIRST SIGNIFICANTCOLLECTION OFCHARTSEXCLUSIVELYOFTHE AMERICAN COASTS TOBEPUBLISHED IN ENGLAND” (VERNER)
WHENTHE MISSISSIPPI RIVER WASIN TEXAS
8. [ATLAS]. ENGLISH PILOT. The English Pilot. The Fourth Book. Describing the West-India Navigation, from Hudson’s Bay to the River Amazones. Particularly Delineating The Coasts, Capes, Headlands, Rivers, Bays, Roads, Havens, Harbours, Streights, Rocks, Sands, Shoals, Banks, Depths of Water, and Anchorage, with all the Islands therein; as Jamaica, Cuba, Hispaniola, Barbadoes, Antigua, Bermudas, Porto Rico, and the Rest of the Caribee and Bahama Islands. Also A new
Description of Newfoundland, New England, New York, East and West New Jersey, Dellawar Bay, Virginia, Maryland, Carolina, &c. Shewing The Courses and
Distances from one Place to another; the Ebbing and Flowing of the Sea, the Setting of the Tides and Currents, &c. With many other Things necessary to be known in Navigation. The Whole being much Enlarged and Corrected, with the Additions of several New Charts and Descriptions. By the Information of divers able Navigators of our own and other Nations. London: Printed for Mount and Page, on Tower-Hill, 1784. [1-3] 4-68 pp. (printed in double column), 23 engraved maps (listed below): 19 inserted leaves of engraved plates (some folding, some with more than one map per leaf), 4 large engraved maps in text, over 200 woodcuts in text (profiles, plats, plans, charts, maps). Tall folio (48 x 32 cm), original brown calf, covers with rolled single borders. Spine partially perished, moderate edge wear, corners bumped, mild stain and scuffing with small losses, hinges cracked. Mild browning to text (heavier to blank margins of first two
leaves), pp. 39-40 detached and with some wrinkles (but no losses), p. 45-46 loose.
For the most part the maps are very good to fine (a few minor tears and splits without losses; Newfoundland map misfolded). Contemporary ink ownership inscription on upper pastedown: “Silas Booth his Book bought in New York pr[ice]
25s”; a few other scattered contemporary computations and note “Apl 1 1797 Fort Newfoundland.” Possibly Silas Booth (1763-1819) who was born and died in
Stratford, Fairfield, Connecticut (see p. 519, Record of Connecticut Men in the Military and Naval Service...). The English Pilot in all editions, by its very nature and hard use in demanding situations, is quite rare.
Engraved Nautical Charts on Inserted Sheets (Some Folding)
Note on publishers’ attributions: In 1784 the publishers of the English Pilot were William and John Mount and Thomas Page. In some cases hereinafter John Mount’s first name is abbreviated “I” on the engraved map. See Tooley’s Dictionary of Mapmakers (revised edition) Vol. III, pp. 287-288 for the intricate history of the Mount family firm. On p. 288 is the entry for the publishers of the 1784 edition.
Most of the maps have dense rhumb lines.
[1] A New and Correct Chart of the North Part of America from Newfoundland to Hudson’s Bay Sold by W. & J. Mount and T. Page on Tower Hill London. Primitive oval cartouche at top right with two sparsely clad Native Americans—male at left with arrow and female with bow at right; fox and beaver at center. Compass rose.
Neat line to neat line: 43.6 x 55.5 cm. English Pilot (facsimile edition), p. xix, #21.
Phillips, Atlases 1171 (#2). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #198 (final entry): “Covers the area from Hudson Bay to Cape Sable. Shows numerous bays and inlets, the Grand Banks, banks and shoals of the Coast of Nova Scotia.” Follows p. 4.
[2] A New and Generall Chart for the West Indies of E[dward]. Wright’s
Projection, vut. Mercators Chart Sold by W. and J. Mount and T. Page on Tower Hill London. [Far right toward center margin, text in box commencing] To find the distance of two Places in this Chart....” Ornate shell and botanical cartouche at upper left. Compass with fleur-de-lis at center. Neat line to neat line: 45.2 x 56.7 cm. English Pilot (facsimile edition), p. xx, #32. Phillips, Atlases 1171(#3). This was one of the updated charts toward the end of the publication sequence, and it appears to be quite scarce. The chart covers the entire West Indies and part of the surrounding land areas, showing straits and passages, navigational hazards,
anchorages, soundings, and a few place names. Describes West Indies navigation from Hudson’s Bay to the Amazon River extending across the Atlantic (between N 55° and S 10°) to Ireland, England, Spain, West Africa, and the Azores, Canary, and Cape Verde islands. The Gulf of Mexico is shown in its entirety, including Florida and Louisiana; also shown are Bay del Spiritu Santo, Isle Maracscagenses(?), Misisipi River, B. St. Louis, Panuco, etc. Jack Jackson in Flags along the Coast (Book Club of Texas, 1995), p. 53 explains why the Mississippi delta (“Misisipi River) is located on the Texas coast: “Thornton, while using Bond’s depiction of the Mississippi Delta, ignored his correct name for it, instead labeling a minor river on the Texas coast as the Misisippi.” Precedes p. 5.
[3] A New and Accurate Chart of the vast Atlantic or Western Ocean, including the Sea Coast of Europe and Africa on the East and the opposite Coast of the Continent of America, & the West India Islands on the West; extending from the Equator to 59 Degrees North Latitude. Drawn from late Surveys, & most approved modern Maps and Charts; the whole being regulated by Numerous Astronomical Observations. By Eman: Bowen Geographer to His Majesty. Sold by J. Mount & T:
Page, Tower Hill. [text at top right] This Chart was drawn and compiled from the
concurring of the existing surveys, and most approved modern Maps.... We have derived some assistance from the Chart of the Western Ocean published in France in 1738, by the order of the Comte de Maurepas, as also from Monsr. De Anville’s Map of North America, lately published at Paris, and republished at London in 1751 with Improvements.... Neat line to neat line: 58.8 x 77 cm. Includes Hudson’s Bay, Labrador or “North Britain,” Atlantic Coast to south of the Isthmus of Darien;
the east extends from Great Britain to the Tooth Coast, Gold Coast, Slave Coast and Benin. Depths shown by soundings in the Grand Banks of Newfoundland.
Shallow areas shown by stippling. English Pilot (facsimile edition), p. xx, #62.
Phillips, Atlases 1171 (#4). Follows p. 8.
[4] The Harbour of Casco Bay and Islands Adjacent. Simple shell and botanical cartouche at lower left. At lower right: Fancy compass with text: A Scale of English Miles. Lower right corner: Sold by J. Mount & T. Page on Tower Hill London. Neat line to neat line: 43 x 54 cm. Casco Bay, Maine, from Cape Elizabeth to Shapeleys Isle and Small Point, Maine. English Pilot (facsimile edition), p. xx, variant of #34, with shorter title as shown. Phillips, Atlases 1171 (#6). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #841 (listing the 1755 edition and subsequent appearances, including this edition: “Shows rocks, shoals, ledges, anchorages, soundings, the main channel into the harbor, towns and houses along the Coast, ‘Casco Fort built by Col. Runamer,’ Fort George, an Irish settlement on the Kennebec River, and relief. The chart was first published n 1720 by Mount, Page, and Company.” Follows p. 12.
[5] A New and Correct Chart of the Coast of New Foundland from Cape Raze to Cape Bonavista, with Chebucto Harbour in Nova Scotia Done from the latest Observations. Sold by W & I Mount & T Page on Tower Hill. Bar scales in English and French leagues at top left. Neat line to neat line: approximately 42 x 191 cm.
[small inset map with compass and ornate border at mid-left] St. John’s Harbour;
[inset map at upper right with scale] Chebucto Harbour in Nova Scotia done from the Latest Observations. Small town plan of Halifax with structures and compass rose below. Two compass roses on map proper. Neat line to neat line: 16.4 x 23 cm.
English Pilot (facsimile edition), p. xx, #53. Phillips, Atlases 1171 (#7). Sellers &
Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #648 (lists editions from 1755 to 1789, including this 1784 edition): “Shows numerous bays and inlets, rocks, soundings, some anchorages, coastal islands, place-names.”
Follows p. 16.
[6] A Chart of the South-East Coast of Newfoundland Printed for Mount and Page Tower-Hill London. Nautical Leagues each equal to 3 Miles. Neat line to neat line: 47.2 x 60 cm. Shows Placentia Bay and most of the Avalon Peninsula. English Pilot (facsimile edition), p. xx, #63. Phillips, Atlases 1171 (#8). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #676 (listing editions from 1780 to 1789, including this 1784 appearance): “Chart of the waters around the Avalon Peninsula. Shows channels, anchorages, shoals, rocks,
soundings, the type bottom, numerous place-names, and relief.” Precedes p. 21.
[7] A Chart of New York Harbour with the Banks, Soundings and Sailing marks from the most accurate Surveys & Observations. English Miles [scale] The Light House on the Sandy Hook is in Latitude 40.26 N. and Longitude 74.10 W. from Greenwich [title within oval at top left and scale below]. Neat line to neat line: 60.5 x 46 cm. Relief shown by hachures. Depths shown by gradient tints and soundings.
English Pilot (facsimile edition), p. xx, #64. Phillips, Atlases 1171 (#10). Sellers &
Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1236 (citing this 1784 edition): “Competition from The Atlantic Neptune and an
increased demand for accurate surveys of the American coast forced the publishers of The English Pilot to update several charts in their atlas. This
improved chart of New York Harbor shows many new shoals, channels, soundings, navigational sightings, and landmarks, but it contains less information on towns in the area.” Isaac Newton Stokes, The Iconography of Manhattan Island, 1498- 1909.... (New York: Robert H. Hood, 1915, Vol. I, pp. 263-264) in his entry for A New Map of the Harbour of New-York published by William Bradford in 1735 provides a short discussion of the evolution of the English Pilot map of New York Harbour: “Another map similar in extent appeared in the English Pilot in 1737 with the imprint of Page & Mount, on Tower Hill, London. Copies of this map exist with the date 1731 below the title, from which it seems evident that it was issued separately at that date. In the succeeding editions of the Pilot, issued in 1749, the same chart bears the name of Tiddeman. It was reissued with this imprint and without alteration down to 1749, the plate growing fainter and fainter, till in 1773, it was retouched, the water shaded, and the imprint altered to I. Mount, etc.” It has been stated that this New York Harbor map first appeared in 1784, but Verner in Carto-Bibliographical Study of The English Pilot, the Fourth Book. With Special References to the Charts of Virginia... (p. 52) states that upon Tiddeman’s return to London from New York in 1728, he gave or sold the New York map to Mount and Page who used it from 1729 to 1794. Verner also notes the long-lived, frequently revised ancestor to this map was first used in 1781. Preceding p. 24.
[8] Virginia, Maryland, Pennsilvania, East & West New Jersey. Sold by Jn: Mount
& Thos Page Tower Hill. [cartouche with droll face and strap work at top right]
[lower left] A Scale of 15 English Leagues.... Engraved inserted sheet. Neat line to neat line: 50.7 x 79.5 cm. English Pilot (facsimile edition), p. xix, #16. Phillips, Atlases 1171 (#11). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #719: “Chart of the Atlantic coast from Staten Island to the vicinity of Cape Henry. Shows soundings, harbors, shoals, rivers, counties, and a few towns.” Verner, Carto-Bibliographical Study of The English Pilot, the Fourth Book. With Special References to the Charts of Virginia, pp. 39-40: “Plate II, State 2... The imprint has been changed as indicated and the title has been altered from Jarsey to Jersey. The same change in spelling has been made in the appropriate place on the body of the map. In the imprint the ‘g’ in Page has a much longer swash tail than in State 1. The shoals and sand bars have been stippled with a coarse dot. The dotted rhumb line below the Y in West New Jersey has been completed to the north border of the plate.” Preceding p. 25.
[9] A Draught of Virginia from the Capes to York in York River and to Kuiquotan or Hamton in James River by Mark Tiddeman Sold By W. & I. Mount & T. Page on Tower Hill London. [title in ornate shell cartouche at lower left]. Engraved inserted sheet. Neat line to neat line: 45.5 x 58 cm. English Pilot (facsimile edition), p. xx,
#43. Phillips, Atlases 1171 (#12). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1492 (citing 1755 edition and
subsequently the present edition): “Chart of lower Chesapeake Bay and part of the York River and James River. Shows extensive soundings, shoals, creeks, inlets and landmarks. Includes pictorial representations of the towns of Norfolk, Hampton, Yorktown, Williamsburg, and Gloucester.” Verner, Carto-Bibliographical Study of The English Pilot, the Fourth Book. With Special References to the Charts of Virginia, pp. 55-69, Plate 1, State 2 on p. 55, noting various changes, such as
“Horse Shooe” corrected to “Horse Shoe”, fleur-de-lis on the compass rose at right border omitted, etc. In addition to attribution in title to Mark Tiddeman, Verner (p.
51) notes the clue connecting the map to Tiddeman, who served as Master of the Tartar when she sailed from Plymouth to patrol the American coast: At far left margin below Cape Charles is a note: “Here the Tartar lost her Anchor Octobr 17th 1726.” This navigational chart, which is oriented to the north, focuses on places such as New Point Comfort, Willoby’s Point, Tooes Pt., etc. Settlements include Williamsburg, York, Gloucester, Norfolk, etc. After p. 28.
[10] Three maps on one sheet: [1] A New Mapp of the Island of St. Christophers being an actual Survey taken by Mr. Andrew Norwood, Surveyr. Genl. Sold by W.
Mount & T. Page on Tower Hill London [title in ornate botanical cartouche at upper right, with scale below in English miles]; [2] A New Mapp of the Island Guardalupa [small decorative cartouche with scale at lower center]; [3] A New Mapp of the Island Martineca [small decorative cartouche with scale at lower center]. Three compass roses. Neat line to neat line: 43.4 x 53 cm. English Pilot (facsimile edition), p. xix, #27. Phillips, Atlases 1171 (#13). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1987: “Shows parishes, churches, fortifications, roads, rivers, and relief. Insets: ‘A New Mapp of the Island Martineca’ and ‘A New Mapp of the Island Guardalupa.’” Preceding p. 32.
[11] A Draught of South Carolina and Georgia from Sewee to St. Estaca by Andrew Hughes. Sold by W. Mount and T. Page on Tower-hill London. [title within ornate shell cartouche at upper right]. Scale in English and French in rectangular box at lower left, two compass roses, extensive engraved text at top: Instructions for the coast of South Carolina Georgia and the Coast of St. Augustin.... Neat line to neat line: 45.5 x 83 cm. Includes names of islands and covers the coast from South Carolina and Georgia to St. Augustine, Florida. English Pilot (facsimile edition), p.
xx, #61. Phillips, Atlases 1171 (#14). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1399 (includes 1784 edition): “Shows the Sea Islands, forts, the towns of St. Augustine, Savannah, and Charleston.
marshlands, rivers, anchorages, shoals, soundings, currents, tide marks, and relief.
Many islands are named.” Preceding p. 33.
[12] A Correct Chart of the Caribbee Islands. Sold by Mount and Page on Tower Hill London. [title within ornate cartouche at upper center]. Scale in English and French below cartouche, compass rose. Neat line to neat line: 43.6 x 52.5 cm. Re- engraving with changes such as “S. John de Port Rico” replaced by “Porto Rico”
and “S. Joan I.” renamed “Aves or Birds I.” English Pilot (facsimile edition), p. xx,
#54. Phillips, Atlases 1171 (#15). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1960n & #1961: “Covers the West Indian Islands from Puerto Rico to Trinidad and part of Venezuela. Showing a few
soundings, shoals, rocks, place-names, forts and relief.” Preceding p. 36.
[13] A Correct Chart of Hispaniola with the Windward Passage Humbly
Dedicated to Mr. John Machin Professor of Astronomy at Gresham College by C.
Price Hydrographer to the King [within ornate banner and scroll cartouche]. Scale in bordered box at lower left in English, French, and Spanish Leagues and
Degrees. [Lower left above neat line] Sold by Jno. Mount & Thos. Page on Tower Hill London. Neat line to neat line: 47 x 59.5 cm. Two compass roses. Located are eastern Cuba, Hispaniola, and adjacent islands to the north. English Pilot
(facsimile edition), p. xx, #50. Phillips, Atlases 1171 (#16). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1848 (noting 1784 edition and commenting on the map in general): “Shows channels and navigational hazards around the island, numerous place-names, ‘the Line Division between the Spaniard and French,’ the quarters, roads, churches, forts, and relief.” Preceding p. 41.
[14] Five maps on one sheet: [1] A Draught of the West End of the Island of Porto Rico and the Island of Zachee [title within double-line box at center that includes scale; also in the map proper are two small elevations of the Island of Zachee at left and right of main title]; [2] A Draught of the Island of Beata on the South side of Hispaniola; [3] The West End of the Island of Henneago; [4] Platform Bay on the South Side of Cape Nicholas; [5] A Draught of Sam Bay, on the South Side of
Hispaniola. Neat line to neat line of map proper: 47 x 59.5 cm. Shown at upper left is Aguado Bay, conjectured by some to be where Columbus first landed. English Pilot (facsimile edition), p. xx, #56. Phillips, Atlases 1171 (#17). After p. 44.
[15] Two maps on one sheet: [1] A New & Correct Chart of Cuba, Streights of Bahama, Windward Passage, the Current through the Gulf of Florida, with the Soundings &c. By an Officer in the Navy, Sold by Mount & Page on Towerhill [title at upper right and compass rose]; [2] A Plan of the Harbour & Town of Havana, Taken on the Spot by an Officer in his Majesty’s Navy [inset of Havana at upper left, with title on land, and reference letters A-G for towns and harbour landings and scale of one English mile] Neat line to neat line: 46 x 64.5 cm. English Pilot (facsimile edition), p. xx, #57. Phillips, Atlases 1171 (#18). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1731 (citing this 1784 imprint): “Shows currents, navigational hazards, route of navigation, the Spanish and English locations for the Tropic of Cancer, place names, and relief.
Also shows parishes and towns on the island of Jamaica. [The] inset [of Havana]
shows extensive soundings, forts, batteries, roads, a wharf, a church, and ‘The Great Moro Castle.’” Precedes p. 45.
[16] A New and Correct Draught of the Bay of Matanzas on ye North side of ye Island Cuba, done from a Survey by Robt. Pearson [title at top left]. A scale of four English or one Dutch... [at lower right]. Fleur-de-lis at top. Neat line to neat line:
23 x 30.7 cm. English Pilot (facsimile edition), p. xx, #47. Phillips, Atlases 1171 (#19). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1825 (second state with year removed, shoals added and stippled, and with additional stippling to wooded areas): “Shows anchorages, shoals, nautical hazards, sounds, and rivers. The Castle of Matanzas with its gate and sentry box, the town, a bridge, a snuff mill, plantations, the best watering, and wooded areas are also included.” Precedes p. 49.
[17] A New & Correct Chart, of the Island of Jamaica. With its Bays, Harbours, Rocks, Soundings &c Sold by J. Mount & T. Page on Towerhill. [title within fancy botanical cartouche at upper right with scale below and compass rose at lower left]. Neat line to neat line: 45.5 x 66.7 cm. English Pilot (facsimile edition), p. xx,
#58. Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1915 & 1922: Notes that the map was “originally drawn by
cartographer and engraver John Thornton for the first edition of The English Pilot, Fourth Book, published in 1689 [and] continued to appear in subsequent editions of the atlas and unchanged until 1767. It shows bays and inlets, coastal landmarks, shoals, soundings, and rivers. St. Jago de la Vega, later Spanish Town, is pictorially represented.” Phillips, Atlases 1171 (#20). Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1922 describe the Jamaica map, which was reworked beginning in 1767 and list the later editions which, among other things, do not have the inset of Port Royal. Preceding p. 53.
[18] Three maps on one sheet: [1] A Chart of the Coast of Guayana, from the Entrance of the River Orinoco. (in the Lat. 8o. 30’ N Long. 61o. W. from London) to the Entrance of the River Amazones, By Waddington [in delicate foliage cartouche at top right with scale below; two large insets left below, both with scales], Sellers
& Van Ee, Maps and Charts of North America and the West Indies 1750-1789
#2145 citing the 1767 edition and noting the 1784 edition; [2] The River Orinoco from the Entrance thereof to St. Thomas’s; [3] The River of Surinam and Places adjacent. Neat line to line: 46.5 x 63.5 cm. Two compass roses and two fleurs-de- lis. English Pilot (facsimile edition), p. xx, #59. Phillips, Atlases 1171 [#21].
[19] A New and Correct Chart of the Trading Part of the West Indies Sold by I.
Mount & T. Page on Tower-hill London [title in square box at top right, two
compass roses, scale in English and French leagues in narrow panel at lower left].
Neat line to neat line: 46.5 x 80.5 cm. Second state with two compass roses. Shows lands around the Gulf of Mexico and Caribbean area, names cities and rivers, relief shown by soundings. English Pilot (facsimile edition), p. xx, #42. Phillips, Atlases
#22. Sellers & Van Ee, Maps and Charts of North America and the West Indies 1750-1789 #1721 (cites the 1755 edition and subsequently notes the 1784 edition): “Drawn for the 1725 edition of The English Pilot, this chart covers the entire West Indies and part of the surrounding land areas. Shows straits and
passages, navigational hazards, anchorages, and a few place names.” Jack Jackson, Flags along the Coast, comments on the origin of this important map of the Gulf of Mexico, pp. 46-47:
