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Album of Original Photographs from three Arctic expeditions commanded by Donald Baxter MacMillan
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Album of Original Photographs from three Arctic expeditions commanded by Donald Baxter MacMillan

By MACMILLAN, Donald Baxter (1874-1970)

[Labrador, Baffin Island, Ellesmere Island, and Greenland, 1925. Oblong quarto. 83 silver gelatin photographs, plus 4 photo postcards, most approximately 3 x 5 inches. Manuscript captions on supports in white pencil throughout. Contemporary black leather, cord-tied photo album. A lively collection of photographs documenting an important series of 20th century Arctic voyages. A collection of eighty-seven images from three different Arctic voyages commanded or co-commanded by Donald Baxter MacMillan in the early 1920s. MacMillan made over thirty voyages to the Arctic during a nearly fifty year career that spanned the first half of the 20th century. After World War I, he designed and commissioned his own schooner, named the Bowdoin , specifically for Arctic exploration. The photos in this album document the first two expeditions made by the craft to Baffin Island in 1921-22, and to North Greenland, Ellesmere Island, and several other locations in 1923-24, as well as a third exploration, also to Greenland, made jointly with another ship called the Peary in 1925. The present images depict many views of the Bowdoin and the Peary , as well as sea planes transported into the Arctic by the Peary for testing, detail features of the passing landscape, seascape, and document local wildlife. Further photos show the activities of the men in camp and in the course of their duties, such as building, dog sledding, hiking, and ship loading. Finally, a number of pictures record the lives of the native Eskimo populations and show the ruins of building left by early Norse explorers.

$15000.00

The Art of Making and Colouring Ivorytypes, Photographs, Talbotypes, and Miniature Painting on Ivory & c. together with valuable Receipts never before published
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The Art of Making and Colouring Ivorytypes, Photographs, Talbotypes, and Miniature Painting on Ivory & c. together with valuable Receipts never before published

By COOPER, Peregrine F.

Philadelphia: By the Author, 1863. 12mo. 52pp. WIth a hand-painted manuscript colour chart mounted on verso of the title and a signed and inscribed photograph of the author bound in following the title. With a letterpress ad for Cooper's Photographic Gallery mounted onto the rear pastedown. Publisher's cloth, covers stamped in blind and titled in gilt, rebacked and with endpapers renewed Rare American manual detailing an unusual hand coloured photographic process. This rare mid-19th-century American technique involved hand colouring salted paper or albumen prints, mounting them to white board and then specially glazing a piece of glass with a wax-based heated mixture and adhering the photograph face down to the glass on the waxed side. The effect is soft and beautiful and has the appearance of a hand-painted ivory miniature. The process was first used in America in the late 1850s by photographer Frederick Wenderoth, which he called the Toovytype. The author of this manual operated from a studio on Chestnut Street, according to his ad on the rear pastedown, and specialized in equestrian pictures, views of buildings, cased portrait images and the colouring of prints and photographs. In addition, the author offered lessons "in painting photographs of all sizes" and sold the present book to aid his students.

$4500.00

The Acropolis of Athens, Illustrated Picturesquely and Architecturally in Photography
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The Acropolis of Athens, Illustrated Picturesquely and Architecturally in Photography

By STILLMAN, William J. (1828-1901)

London: F.S. Ellis, 1870. Folio. Title page illustrated with a mounted photograph. 25 mounted carbon print photographs (images approx. 7 1/2 by 9 1/2 inches, or the reverse). Publisher's green cloth, upper cover lettered in gilt, expertly rebacked to style with green morocco The best 19th century photographs of the Acropolis: one of 100 copies printed. Stillman's The Acropolis of Athens "may be considered a precursor of the twentieth-century modernist photobook in that self-expression is deemed as important as making a record. Stillman's title determines the book's tone -- the Acropolis is 'illustrated picturesquely and architecturally in photography', with the artistic side of the enterprise being placed before the documentary ... [Stillman's] work is nominally in a straightforward nineteenth century topographical mode, fulfilling the brief of documenting the Parthenon and Erecheum, but it also functions as a conscious vehicle for the photographer's artistic ambitions. Stillman takes us on a tour of the Acropolis in 25 well-executed and richly toned photographs that transport us from far to near, beginning with distant views that place the hill and its monuments in context, and ending with close-ups of statue fragments" (Parr and Badger). Stillman, born in Schenectady, New York, trained as an artist under Frederic Church; travelling to England and Europe in the 1850s, he became an important member of the Pre-Raphaelite circle, befriending Rossetti, Millais and others. It was around this time that he also took up photography. Following the Civil War, Stillman was named U.S. Consul to Crete, but fled to Athens during the Cretan Revolt. In the winter and spring of 1869 he began photographing the Acropolis. Encouraged by others, he privately published his work, with the carbon print photographs printed by the Autotype Company of London. Contemporary advertisements reveal that only 100 copies were published at the price of $25 (with images subsequently offered for sale individually at $1). The work is quite rare on the market, with only a single example in the auction records. Truthful Lens 155; NYPL 223; Parr and Badger, The Photobook, I:p. 68; Frederick N. Bohrer, "Fixing the Acropolis: William J. Stillman and the Restoration of Athenian Antiquity" History Of Photography Vol. 40 , No. 3 (2016); Andrew Szegedy-Maszak, "An American on the Acropolis" in Antiquity in Photography , pp. 148-193 (Getty Publications: 2005).

$52000.00

Group 60 photographs depicting the people and landscape of Ceylon, and including a number of images documenting the visit by Archduke Franz Ferdinand
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Group 60 photographs depicting the people and landscape of Ceylon, and including a number of images documenting the visit by Archduke Franz Ferdinand

By CEYLON - William Louis Henry SKEEN, photographer (1847-1903); and others

Ceylon, 1893. Mounted albumen photographs, many captioned in manuscript on the mounts, many signed in the negative by Skeen. Image sizes approximately 10 1/2 x 8 1/2 inches; card mounts measuring 14 7/8 x 12 inches. Housed in a contemporary full morocco box, by A. Guenther of Vienna, gilt patterned endpapers and edges, metal hinges and clasps. Lovely collection of 19th century images of Ceylon's people and landscape, including images of a royal visit by Archduke Franz Ferdinand of Austria. In 1892, Archduke Ferdinand, the Prince and heir apparent of the Austro-Hungarian Empire, departed on a 10-month journey around the world, including visits to India, Ceylon, Australia, New Guinea, Japan, and the United States. The voyage held a dual purpose: the Archduke was recovering from tuberculosis and needed a cover in which to convalesce; in addition, however, the 28-year-old Prince was an avid sportsman and travelled in search of exotic game. The Archduke and his large entourage arrived in Colombo on January 5, 1893; travelling overland to a hunting campe at Kalawewa, returning to India on January 13. The Archduke is best remembered for being assassinated in 1914 which would trigger World War I. Many of these images are by the important photographer William Skeen. Skeen, trained at the London School of Photography, arrived in Ceylon in 1862. His father, a noted printer on the island, had purchased an existing photography studio for him to operate. "During its existence W.L.H. Skeen and Co. was the premier firm in Ceylon, producing an extensive documentation of agriculture and industry (particularly tea and spices), landscapes and ethnic groups ... The company were photographers by appointment to the Duke of Edinburgh during the tour of 1870 and photographed elephant kraals ... It also exhibited at major international exhibitions from the 1870s to the 1900s" (RCS Photographers Project, Cambridge University Library). Other images are attributed to the two photographers who traveled with the Archduke, the Bohemian Eduard Hodek (1858-1929) (who in addition to being the royal photographer for the trip, was also the Archduke's head taxidermist) and German photographer Karl Pietzner (1853-1927).

$28500.00

Sun Pictures in Scotland
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Sun Pictures in Scotland

By TALBOT, William Henry Fox (1800-1877)

London, 1845. Quarto. 23 salt prints from calotype negatives, mounted on 17 sheets with hand-ruled borders and manuscript numbering. Title within and ornamental border, 2pp. letterpress list of plates. Without the Notice to the Reader slip found in some copies. Fading to images as usual. Publisher's light purple cloth, upper cover stamped in gilt, rebacked retaining the original spine, yellow endpapers. Housed in a full dark red morocco box. An incunable of photography: the first photographically illustrated work to be published in book form. Published in July or August 1845, William Henry Fox Talbot's Sun Pictures in Scotland is widely recognized as the first photographically illustrated book completed for public sale. Issued between the fourth and fifth installments of Talbot's Pencil of Nature , the edition size of Sun Pictures was quite small. Unlike The Pencil of Nature, it was not available through booksellers but rather sold strictly by subscription. The list of subscribers comprised approximately 100 names, including Queen Victoria. Talbot's principal intention here was to demonstrate photography's potential as a documentary medium. The result, however, was the first themed photobook. Sun Pictures in Scotland depicts Talbot's travels through the region in October 1844, inspired by the life and writings of Sir Walter Scott (1771-1832). The 1830s and 1840s was a period of intense interest in the Scottish poet. The 200-foot-high Scott Monument in Edinburgh was nearly completed when Talbot photographed it, and he included it as the second plate in Sun Pictures. "In Sun Pictures Talbot takes his viewers on a visual pilgrimage to scenes intimately associated with Scott's life and writings ... From the outset, Sun Pictures in Scotland was planned to appeal to friends, acquaintances and relations in the fashionable circle of Lady Elisabeth Fielding, Talbots' mother. It was her self-appointed task to persuade them to subscribe in advance of publication and surviving lists give some sense of this society ... Sun Pictures served a very different function from The Pencil of Nature , being mostly intended to bring Talbot's achievements to notice among high society. Unremarked by the wider world, the book disappeared without a trace in to the libraries and drawing rooms of its aristocratic subscribers. With its narrowly focused goal and limited number of copies distributed only to subscribers, Sun Pictures in Scotland remains one of the most enigmatic of all Talbot's photographic ventures. Nevertheless, it can reasonably claim to be the first photographic essay in the history of the medium" (Taylor). The uneven quality of the plates in nearly all copies of Sun Pictures is due to the unfavorable environmental conditions in which they were made. Indeed, many prints began deteriorating immediately. According to Talbot scholar Larry J. Schaaf, fewer than 25 copies of Sun Pictures in Scotland are believed extant. Schaaf locates at least nine in institutional collections, including The J. Paul Getty Museum, The Metropolitan Museum of Art, The New York Public Library, and The University Library, St. Andrews. Only a handful of copies have appeared at auction since 1970. NYPL 2; Truthful Lens 161; Gernsheim 7; Taylor, Impressed by Light , pp. 21-22.

$65000.00

Street Life in London
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Street Life in London

By THOMSON, John (1837-1921) and Adolphe SMITH HEADINGLEY (1846-1924)

London: Sampson Low, Marston, Searle & Rivington, 1877. 4to. (10 5/8 x 8 inches). [4], 100pp. 37 woodburytypes on 36 leaves, each with printed caption and red ruled border. Publisher's pictorial green cloth, decoratively stamped in gilt, red and black, gilt edges. Housed in a green morocco backed box. "The first photographic social documentation of any kind" (Gernsheim). Thomson's photographs in Street Life in London and the commentary upon the images by Thomson and Adolphe Smith, depict a London in which life is a harsh and continuous struggle. The characters on view here are familiar to us more from Dickens' novels or from an idea of the Whitechapel of Jack the Ripper than from any nostalgic image of a strait-laced or patrician Victorianism. Thomson and Smith are, however, sympathetic to the objects of their study and seem intent on cataloguing the variety of types to be found rather than attempting any Barnum-like freakshow. As Thomson himself writes: "The precision and accuracy of photography enables us to present true types of the London poor and shield us from the accusation of either underrating or exaggerating individual peculiarities of appearance." "Street Life in London is a pioneering work of social documentation in photographs and words ... one of the most significant and far-reaching photobooks in the medium's history" (Parr & Badger). Hasselblad 42; Gernsheim, p. 447; Truthful Lens 169; Parr & Badger I:p.48.

$22500.00

Panorama der K. Haupt-u.-Residenz-Stadt München. Aufgenommen in der Vogelperspective vom Sct. Petersthurme aus, zur Zeit des 700 jährigen Jubilaeums 1858

By BÖTTGER, Georg (1821-1901)

Munich, 1858. 11 large-format collodion dry plate photographs, mounted on card accordion-style with linen joints to form a 360 degree panoramic view of Munich, titled on the mount below the image and with the photographer's name in contemporary manuscript at the lower right. Overall size: 20 3/4 x 178 inches. Folds into a contemporary green cloth-backed box with gilt edges Provenance: Ludwig II (contemporary manuscript inscription on a small sheet affixed inside the front cover of the box) Among the earliest photographic panoramic city views ever accomplished. Taken from the tower of St. Peter's Church on the occassion of the 700 anniversary of the city, Bottger's panorama is the first such panoramic photograph of Munich. Georg Böttger (1821-1901) began his career as an engraver and lithographer, taking up photography circa 1850. His earliest photographic works were portraits and architectural studies, the latter particularly including monuments dedicated to Ludwig I and II. In 1854, he participated in the Deutsche Industrieausstellung, and would both teach photography and sell photographic equipment. In the 1860s he would photographically document bridge and railroad engineering projects in Germany, and in 1872 be named the official photographer of the Bavarian royal family. The present panorama is by far his most famous image, being among the largest photographs accomplished to that date, the earliest 360 degree photographic city view, and among the earliest photographic panoramas ever taken (preceded only by a panorama of Paris by Bisson freres in 1855). It is extremely scarce. Not in Heidtmann and with only a single example located in the Stadtmuseum, Munich. This example with provenance to Ludwig II, King of Bavaria.

$37500.00

[Incredible photographic album of photographs documenting Harry Whitney's first and second expeditions to Arctic Greenland]
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[Incredible photographic album of photographs documenting Harry Whitney's first and second expeditions to Arctic Greenland]

By WHITNEY, Harry (1873-1936)

[Northern Greenland], 1910. Oblong small folio. (11 x 14 inches). 259 silver gelatin prints, most Whitney's photographer's credit in the image, mounted recto only on black paper within the album, images measuring approx, 3 1/4 x 5 1/2 inches. Contemporary leather, upper cover lettered in gilt. Housed in a black morocco backed box. Provenance: G. Frederick Norton An important photographic record of high Arctic exploration. An important photograph album consisting of 259 original gelatin silver prints by noted American sportsman, explorer, and author Harry Whitney, taken during Peary's 1908-1909 Arctic Expedition, as well as Whitney's second expedition of 1910. Harry Whitney (1873-1936) was a wealthy American sportsman, a descendant of the Eli Whitney family of New Haven, Connecticut (not to be confused with his contemporary, sportsman and donor of Yale's gymnasium Harry Payne Whitney). Whitney first travelled to the far northern Arctic for sport in 1908-09, on the ship carrying Robert Peary's expedition to the North Pole in the spring of 1908. While Peary and his rival Frederick Cook assaulted the Pole, Whitney hunted musk ox, polar bears, walrus, and other arctic game, and wintered over with the Inuit. In the spring of 1909 he encountered Frederick Cook, who claimed to have reached the Pole, and left some luggage in Whitney's care as he raced south to report his triumph. When Peary arrived later in the summer, he offered Whitney a ride home, but refused to bring Cook's luggage. Whitney thus became embroiled in the controversy over who achieved the Pole first, since Cook claimed his proofs were in the baggage. The following year, Whitney returned to Greenland aboard the steamer Beothic for a summer of hunting in the far north. This photo album documents both Whitney's 1909 wintering (45 images), as well as his return to far northern Greenland the next year (214 images). The album is a treasure trove of images of the indigenous Inuit of northern Greenland, with numerous photos of Inuit men, women, and children at work and play, most looking directly into the camera lens. There are also many landscape views, and some seascapes focusing on distant icebergs and glaciers. Other images show Inuit shelters, the steamship "Beothic," and other assorted snapshots of Inuit life. Wildlife also appear in a number of the photographs, including explicit photos of successful hunts or captures, with several examples showing recently-shot or stunned polar bears and walruses being hauled onto a boat, as well as herds of musk oxen. This album with provenance to George Frederick Norton (1876-1917). Born in Kentucky, he attended the Lawrenceville School and served as a partner at the brokerage Ex Norton & Co. However, his life's passion was travel, adventure and big game. Norton made numerous trips to the west and Alaska on private hunting expeditions, and collected and donated specimens (with a particular emphasis on bear skulls) to the American Museum of Natural History the Smithsonian and other institutions. Norton helped finance the final Peary expedition to the North Pole, accompanying him and Whitney aboard the ship Erik as far north as Etah, Greenland. The album was evidently subsequently presented to Norton by Whitney, and has descended in Norton's family. The album stands as an affecting reminder of the harsh realities of polar exploration, big-game hunting, and the lives of indigenous Greenlanders. It is an important record of some of the earliest exploration to reach such High Arctic latitudes.

$32500.00

[Incredible album of photographs documenting Peary's final expedition to the Arctic]
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[Incredible album of photographs documenting Peary's final expedition to the Arctic]

By PEARY ARCTIC EXPEDITION - G. Frederick NORTON (1876-1917)

[Northern Greenland], 1909. Oblong small folio. (11 x 15 1/4 inches). 238 silver print photographs (comprising 71 panoramic images measuring 3 1/4 x 11 1/2 inches, 147 measuring 3 3/4 x 4 7/8 inches and 20 measuring 3 x 3 7/8 inches). Mounted recto and verso on grey card mounts within the album. Some images captioned in ink on the mount. A few cards detached, some fading to the images. Contemporary leather, missing part of one post, leather worn. Housed in a morocco backed box. Provenance: G. Frederick Norton An important photographic record of Peary's Arctic expedition. In 1908, G. Frederick Norton accompanied Robert Peary on the start of his final Arctic expedition. An acclaimed adventurer and hunter, Norton was additionally an amateur photographer and here documents Peary's journey north, as well as camp life, landscape and natives of Greenland. George Frederick Norton (1876-1917), born in Kentucky, attended the Lawrenceville School and served as a partner at the brokerage Ex Norton & Co. However, his life's passion was travel, adventure and big game. Norton made numerous trips to the west and Alaska on private hunting expeditions, and collected and donated specimens (with a particular emphasis on bear skulls) to the American Museum of Natural History the Smithsonian and other institutions. In 1901, he journeyed around the world and in 1908 he helped finance the final Peary expedition to the North Pole, accompanying him aboard the ship Erik as far north as Etah, Greenland. The images include panoramic landscapes taken from aboard the ship, showing icebergs and the coast of Greenland. The smaller format images include portraits and candid shots of Peary, Matthew Henson, Captain Bartlett, Professor Marvin and other crew members at work and repose aboard the ships Erik and Roosevelt, as well as numerous images of native Inuit aboard ship and on land. Furthermore, images include landscapes and camp life at the whaling station at Hawk's Harbor, Holseteinborg, the Cape York settlement, Etah and elsewhere en route. Among the Peary-related photos, are a series of images showing his preparations to leave the ship at Etah. An extraordinary album of vernacular photographs in the Arctic on a noted expedition.

$35000.00

The Wyoming Valley, Upper Waters of the Susquehanna and the Lackawanna Coal-Region, including Views of the Natural Scenery of Northern Pennsylvania ... Photographically Illustrated ..
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The Wyoming Valley, Upper Waters of the Susquehanna and the Lackawanna Coal-Region, including Views of the Natural Scenery of Northern Pennsylvania ... Photographically Illustrated ..

By PENNSYLVANIA - J. A. CLARK, editor and publisher

Scranton: J. A. Clark, 1875. Large 8vo. Text in two columns. 26 mounted albumen photographs, single page map. Publisher's purple cloth, upper cover pictorially stamped in gilt, spine faded. Rare photographically-illustrated history of Wyoming Valley, Pennsylvania, with biographicaly sketches and portraits of its leading citizens. "This volume is largely a compilation from the histories of Chapman, Miner, Pearce, Hollister, &c., with a few original biographical sketches. It was first published by subscription, to be issued in 15 parts ... But only about 10 parts were issued, when the work ceased, and about 100 copies were bound as above. Published, with 25 photographs, $5.00; with 14 photographs, $3.50" (Hayden). Howes C436 (calling only for 25 photos); Hayden, Bibl. of the Wyoming Valley, 1885, p. 10.

$900.00

The Yosemite Book; A Description of the Yosemite Valley and the Adjacent Region of the Sierra Nevada, and of the Big Trees of California...
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The Yosemite Book; A Description of the Yosemite Valley and the Adjacent Region of the Sierra Nevada, and of the Big Trees of California...

By WHITNEY, Josiah Dwight

New York: Julius Bien, 1868. Large quarto. 116pp. plus twenty-eight mounted albumen photographs, each 6 x 8 inches, and two folding maps. Repairs to maps, text moderately foxed in places, photo mounts lightly so, but the photos themselves clean and bright. Three-quarter morocco, publisher's green cloth, title stamped in gilt on front board, neatly re-backed, with original gilt morocco spine preserved, gilt edges Twenty-eight Mounted Photographs of Yosemite An important photographically illustrated piece of Western Americana, containing twenty-eight original albumen photographs, the first twenty-four produced by Carleton T. Watkins in 1866 and the final four by W. Harris the following year. The Yosemite Book ... was assembled by the office of the California State Geologist, headed by J.D. Whitney. The text was based mainly on the field survey work done by Clarence King in the 1866 season, supplemented with material from other sources. The whole was intended as a lavish guide to Yosemite. Only 250 copies were issued with photographs, as in the present copy. The rest were done on a smaller format to serve more practically as a guide book. The maps are the best of the Yosemite region produced up to that time. Whitney was justifiably proud of the work, which appeared early in 1869, although completed in December 1868. Currey & Kruska conclude that it is "one of the major contributions to Sierra Nevada literature." This work is now scarce. It was notably absent from the DeGolyer Library exhibition devoted to photographically illustrated western books (although it is listed in the appendix). Important and visually impressive. Cowan, p.699; Currey & Kruska, Yosemite Bibliography 60; Farquhar 7a; Graff 4646; Howell 50:929; Howes W389, "aa"; Kurutz, California Books Illustrated with Original Photographs 88; ROCQ 5170; Truthful Lens 896; Zamorano Select 32.

$18500.00

The Arctic Regions. Illustrated with photographs taken on an expedition to Greenland by William Bradford. With descriptive narrative by the artist
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The Arctic Regions. Illustrated with photographs taken on an expedition to Greenland by William Bradford. With descriptive narrative by the artist

By BRADFORD, William (1823-1892)

London: Chiswick Press for Sampson, Low, Marston, Low and Searle, 1873. Large folio. (23 7/8 x 19 inches). Mounted on linen guards throughout, half-title, title in red and black, dedication leaf. 141 mounted albumen prints from wet collodion negatives, by John Dunmore & George Critcherson (one as a vignette on the title, one double-page, 24 full-page and 115 of various sizes on the text). Original brown publisher's morocco by Leighton, Son & Hodge, after a design by Bradford, the covers elaborately blocked in gilt and black with a large centrally-placed vignette, titled "The Arctic Regions" within elaborate neo-gothic floral borders and panels, expertly rebacked to style, the spine in six sections with raised bands, marbled endpapers, gilt edges, edges and joints expertly repaired. Housed in an oatmeal cloth box, morocco lettering piece. The greatest of all the illustrated books on the Arctic and a major photographically-illustrated book. American marine painter William Bradford, inspired by Elisha Kane and Lord Dufferin's accounts of the Arctic, spent five seasons between 1861 and 1867 sketching along the coast of Labrador. In 1869, with the patronage of Le Grand Lockwood, he sailed as far north as Baffin Island and Melville Bay on a purpose-built arctic steamer The Panther, commanded by Captain John Bartlett and manned by a hand-picked Newfoundland crew. The expedition took place during the summer of 1869 "solely for the purposes of art", although Bradford and his companions did find time for hunting (see photograph facing p.64). Bradford sketched and drew, and, according to recent scholarship, possibly took some of the photographs. Technical advice on the running of the expedition was provided by Dr. Isaac Hayes, an old Arctic-hand, who had first gone North with Elisha Kane's expedition of 1853-1855. Accompanying Bradford were photographers John Dunmore and George Critcherson, from the well-regarded James Wallace Black Studio in Boston. "The three-month summer trip to the far North was a complete success. Not only did the expedition yield Bradford enough sketches and photographs to furnish him with motifs for years, but the published account of the journey became one of the nineteenth century's most spectacular photographically illustrated travel books ... The book was subsidized by Queen Victoria herself, along with several other members of the British Royal family, and there is no doubt that the volume is one of the most sumptuous of the century" (Parr and Badger). Looking at the photographs it is easy to imagine the hardships that this pair must have endured. Using relatively primitive large-format plate cameras in highly hostile conditions, Dunmore and Critcherson managed to capture the majestic beauty of the region. As Bradford wrote in his preface "They were indefatigable in their efforts to overcome the obstacles which were constantly presented, and which appeared really to have no end." Their photographs "may be counted not only amongst the earliest, but also the best polar photographs ... they conveyed both the harsh grandeur of the landscape through which they travelled, and the rigours of polar travel. They also contributed to, indeed largely invented, that staple of Arctic expedition photography, the tiny ship struggling through towering sheets of ice -- the classic, but nevertheless compelling cliche of man against the elements" (Parr and Badger). Although no limitation is given, fewer than 300 copies of the work are thought to have been published. Contemporary advertisements reveal that even with the patronage received the publisher's price was an extraordinary 25 guineas. Of the extant examples, the large work is often found in very poor condition, with significant edge fading, as well as offsetting from facing images. The present set, from the library of noted collector Richard Manney, is in lovely condition, with strong contrasts and colors to the images. Parr & Badger, I, p. 31; Amherst/Shepard, American Painters of the Arctic (1975) pp. [9-10], no.34; Gernsheim Incunabula of British Photography (1984) 570; Grolier Truthful Lens 24; Van Haaften Original Sun Pictures NYPL Bulletin 80 (1977) 258. See also Horch Photographs and Paintings of William Bradford , The American Art Journal 5 (1973) 195-216.

$175000.00

Seven Mile Funeral Cortège of Genl. Grant in New York Aug. 8, 1885 [cover title]
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Seven Mile Funeral Cortège of Genl. Grant in New York Aug. 8, 1885 [cover title]

By (GRANT, Ulysses S.) - The U.S. Instantaneous Photographic Co

Boston: The U.S. Instantaneous Photographic Co, 1886. Oblong folio. (13 1/4 x 15 3/4 inches). 99 mounted albumen photographs. 2pp. ads. Some minor browning and staining. Publisher's black morocco, covers panelled in blind and lettered in gilt, repairs to joints Rare published album of photographs depicting President Grant's final journey. An elaborate memorial album, photographs depict Grant's house, the train carrying the coffin from Mount McGregor to New York, the procession in Albany, the temporary tomb in Riverside Park, various regiments marching to New York (including a view of State Street, Boston), the laying in state, army camps in Riverside Park, navy ships in the Hudson River, several views of the funeral procession in New York City including Fifth Avenue, floral tributes at the tomb, and crowds gathered there. There are also many photographs of Grant and his family including his last known photograph of Grant taken 19 July 1885, only four days before his death. The caption states in part, "For the first time, the old soldier.is seen with his eye glasses on, reading a newspaper. Our artist had taken the old hero several times before, by his permission, but it was in family groups and in constrained and unnatural positions.but when this last view of the great man was snatched from him, he was unaware of it, and it looks very natural.and shows the simplicity of the man more than volumes of writing could do." The The U.S. Instantaneous Photographic Co. firm produced several versions of the present album, with varying numbers of prints, for display in hotel lobbies on complicated custom-made cast iron display stands. The present album with more images than usually found and is numbered "No. 9" on the front pastedown. The album is rare, with only 8 extant examples located by OCLC and only three other examples in the auction records for the last 40 years.

$9500.00

[Outstanding collection of early architectural photographs featuring buildings in Chicago, Cleveland, New York City, Buffalo, Boston, and Michigan]
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[Outstanding collection of early architectural photographs featuring buildings in Chicago, Cleveland, New York City, Buffalo, Boston, and Michigan]

By (CHICAGO)

[Chicago, Cleveland, New York City, Buffalo, Boston, and Battle Creek, MI, 1880. 3 volumes, oblong quarto. 219 albumen photographs, backed on linen. A handful of photos in the second volume dampstained. Contemporary cloth. Housed in a black morocco-backed box. An amazing collection of photographs of Gilded Age mansions in Chicago An astounding collection of photographs highlighting the golden age of architecture in Chicago, particularly the style of Richardsonian Romanesque, named for the prominent architect Henry Hobson Richardson. Some of Richardson's own work is featured in this archive, including some of his buildings in Cleveland and Boston. Other architects represented in these photographs include an array of the most famous designers in Chicago during the latter part of the 19th century, such as Daniel Burnham, John Wellborn Root, Franklin Pierce Burnham, Willoughby J. Edbrooke, Joseph Lyman Silsbee, Solon Spencer Beman, H.M. Hansen, John J. Flanders, William Carbys Zimmerman, and other partnerships, including Wheelock & Clay, Mason & Rice, Treat & Foltz, Cobb & Frost, Patton & Fisher, and more. Some of the photographs carry stamps from these architects on the verso, including Henry Ives and L.G. Hallburg, while others are identified through pencil notations or by captions in the negative, likely by the photographic firm that produced the images. The archive also includes architectural works from firms in other cities, including Marling & Burdett and Green & Wicks in Buffalo, N.Y. (both of whom had worked and studied in Chicago - Marling under Beaman and Burdett under Richardson), and C.F. Schweinfurth, Coburn & Barnum, and George Smith in Cleveland. Some of the identifiable buildings in this collection include the Potter Palmer residence, the McWilliams residence, the Borden house, the Ransom Cable residence, the McGill house, Chicago City Hall (designed by James Egan), the Hair & Ridgway Building, and H.H. Richardson's McVay residence (among about a half dozen other buildings identified as Richardson designs). A healthy amount of the images show buildings at various stages of construction, a rare feature for albums of architectural photographs like this. Though the subject matter includes buildings in several cities, the photographs themselves, or at least the printing of the photographs all seem to be the work of a single Chicago architectural photography studio, explaining why architectural works from disparate cities are presented together. Seemingly all of the photographs emanate from the Chicago photographic firm of Allgeier, with a handful of photographs from Allgeier & Bertwistle. The second volume includes numerous images focusing on interior design, as well as close-up details of various architectural features of buildings in Chicago, including the aforementioned Hair & Ridgway Building. The third volume contains views of railroad stations, namely Battle Creek Depot in Michigan (designed by Rogers & MacFarland of Detroit) and another unidentified station in New York, as well as additional buildings in Chicago and New York. An amazing archive of Richardsonian Romanesque architectural photographs from the style's heyday.

$25000.00

The Progress of his Royal Highness Prince Alfred Ernest Albert through the Cape Colony, British Kaffraria, the Orange Free State, and Port Natal, in the year 1860
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The Progress of his Royal Highness Prince Alfred Ernest Albert through the Cape Colony, British Kaffraria, the Orange Free State, and Port Natal, in the year 1860

By [SOUTH AFRICA]: [PHOTOGRAPHY]

1861. Quarto. xii,180pp. plus photographically illustrated titlepage and sixteen mounted albumen photographs. Original publisher's cloth, stamped in gilt; rebacked with most of original spine laid down. Corners lightly worn. Contemporary ownership inscription on front flyleaf. Light foxing and toning, heavier in some places. Most images clean, though one or two with some light foxing at the edges. Very good. With Some of the Earliest Photographic Images from South Africa, with a Striking Portrait of a Basuto Chief An early photographically illustrated book, and the first such book printed on the African continent. The volume was made to commemorate the visit of Alfred, Duke of Saxe-Coburg and Gotha, one of Queen Victoria's sons. The book was designed to showcase the colony, which had hitherto been viewed in a less than positive light by the general British public. Prince Alfred was well-received by the colonists in South Africa, and the volume contains many positive facts about the colony's usefulness to the British Empire. The book includes seventeen images by photographer Joseph Kirkman, who was active in South Africa from 1859 to 1870. Some of the images in this volume are photographs of drawings or other artwork, but others do capture live scenes along the Prince's route, including a grand portrait of the African chief Moshesh and his advisors. The chief is pictured seated in the center of the image, dressed in a top hat and suit, holding a cane. The man seated next to him glowers at the camera and is draped in an animal pelt and holds a spear. Four men, all in Western dress, stand arrayed behind them. The images taken from life during the Prince's progress are as follows: [Untitled image on the titlepage showing several men next to a rail car full of large rocks. In 1860 Kirkman and Frederick York were employed by the Government and the Harbour Board to photograph the tilting of the first truck of stone off the Breakwater by Prince Alfred. This is, presumably, an image from that scene.] "Graham's Town, from the West" "The Reception of the Prince by a Burgher Escort near Queenstown" "The Prince's Interview with the Tambookies" "Moshesh and His Counsellors" "The Prince and His First Wildebeeste" "The Prince's Travelling Equipage" Not in THE TRUTHFUL LENS. A rare and interesting work, and notable for being the first photographically illustrated book produced in Africa.

$4500.00

Egypt and Palestine Photographed and Described
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Egypt and Palestine Photographed and Described

By FRITH, Francis (1822-1898)

London: James S. Virtue, 1859. 2 volumes, small folio. (17 1/8 x 12 3/8 inches). 76 mounted albumen photographs. Extra-illustrated with 3 additional images by Frith in the rear of vol. 2, dated in the negatives 1873-1875. Foxing, principally to the mounts. Contemporary half green morocco and green pebbled cloth boards, spine gilt with raised bands Provenance: Arthur G. Soames (armorial bookplate) Frith's Egypt and Palestine: "one of the most renowned nineteenth century photobooks" (Parr & Badger). By the mid 1850s, Frith had sold his grocery and printing businesses to devote himself full time to photography. Between 1856 and 1860, he made three expeditions to Egypt, Sinai, Ethiopia, and Jerusalem, photographically documenting Middle Eastern architecture and culture. "On the first, he sailed up the Nile to the Second Cataract, recording the main historic monuments between Cairo and Abu Simbel. On the second, he struck eastwards to Palestine, visiting Jerusalem, Damascus and other sites associated with the life of Christ. The final expedition was the most ambitious, combining a second visit to the Holy Land with a deeper southward penetration of the Nile. His photographs of the temple at Soleb, 800 miles south of Cairo, represent a genuinely pioneering achievement. Unlike many travel photographers of this period, Frith used the wet collodion process in preference to the more convenient paper-based calotype. Because it involved chemically sensitizing the glass plates on site, this process posed particular problems in a climate dominated by heat, dust and insects. Commenting sardonically on how his chemicals often boiled on contact with the glass, he nevertheless produced negatives that are remarkable for their consistently high technical standard ... Frith photographed most of the key monuments several times, combining general views with close studies of their significant details and broader views of their landscape environment. The clarity of his images proved to be of immense value to archaeologists. The photographs are also often powerfully composed, revealing an understanding of the poetic qualities of light that gives them lasting aesthetic value" (McKenzie, Grove Art). The present work was the first published fruit of these travels, originally published in 25 monthly parts, with three images per part, between 1858 and 1859, with the parts re-issued upon completion in two volumes (as here). Although most famous for his much larger photographs (Egypt, Sinai and Jerusalem, 1862-63), Parr and Badger praise the artistry of the present images: "With the 9 by 7 inch view camera, Frith was liberated not only from the technical difficulties, but also from the aesthetic responsibilities of making a grand statement." Depicting landscapes, monuments and views, Frith's photographs of Egypt and the Holy Land established his reputation as one of the most important photographers of the 19th century. "It is for good reasons that Firth's views of Egypt and Palestine were the star attractions of the 1858 exhibition of the Photographic Society ... 'His subjects in Palestine and Egypt impress us with a consciousness of truth and power which no other art production could produce'" (Truthful Lens, p. 30). Many of the negatives, first printed here, were reused by Frith in later publications, including his deluxe edition Queen's Bible, and his four-volume set printed by Mackenzie in 1863. Blackmer 1942; Gernsheim 88; Truthful Lens 61; cf. Parr and Badger I:p.28.

$12500.00

The Pageant of Peking. Comprising Sixty-six Vandyck Photogravures of Peking and Environs ... With an Introduction by Putnam Weale. Descriptive notes by S. Coulie
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The Pageant of Peking. Comprising Sixty-six Vandyck Photogravures of Peking and Environs ... With an Introduction by Putnam Weale. Descriptive notes by S. Coulie

By MENNIE, Donald, photographer (1875-1941)

Shanghai: Published by A. S. Watson, printed and bound by Kelly & Walsh, 1922. Folio. (15 x 11 inches). Title and text printed in red and black. 66 photogravures by Mennie, each tipped to larger sheets within a printed border with captions to the facing images on verso. Calligraphic manuscript presentation leaf bound preceding the title, signed by the trustees and vestry of the Holy Trinity Cathedral in Shangahi. Publisher's blue silk, upper cover decorated and lettered in gilt. Housed in a contemporary custom carved wooden box with Chinese motifs, velvet lining. Provenance: Lord John Hubbard, 3rd Baron Addington (presentation inscription) A spectacular collection of photographs of early 20th-century Beijing and the surrounding countryside: special presentation copy housed in a wonderful carved wooden box. Includes images of the Summer Palace, the Forbidden City, the Great Wall, and scenes of shopkeepers, merchants, travelers and monks going about their business. Mennie was a Scottish entrepreneur and amateur photographer, who first came to China in circa 1899. His first published work as a photographer were the illustrations in Elizabeth Cooper's My Lady of the Chinese Courtyard , a story of women's lives in China (New York,1914), with his own photobooks first appearing in 1920. The Pageant of Peking was his most successful and best known work, first published in November 1920. This copy stated third edition on verso of the half title, published in February 1922.

$6000.00

[Album containing 154 albumen photographs of Chicago by a noted photographer, including important architectural images, as well as images relating to the preparations for the 1893 World's fair, the stockyards as described by Upton Sinclair, and more]
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[Album containing 154 albumen photographs of Chicago by a noted photographer, including important architectural images, as well as images relating to the preparations for the 1893 World's fair, the stockyards as described by Upton Sinclair, and more]

By CHICAGO - John W. TAYLOR, photographer (1846-1918)

Chicago, 1890. Oblong folio. (10 3/4 x 13 inches). 152 albumen photographs, most 7 x 9 inches, mounted recto and verso of each leaf within the album. Images captioned in manuscript on the mount below the image, many signed in white ink or in the negative by Taylor. Expertly bound to style in half dark purple morocco over period cloth covered boards, spine lettered in gilt, marbled endpapers A remarkable album of early Chicago photography by John W. Taylor: a significant photographic record of Chicago in the late 19th century. A major photographic record of the city of Chicago and its architecture in the late 19th century, almost entirely the work of the significant photographer John W. Taylor, with his imprint in the negative. Taylor was a bookseller and stationer before advertising himself as a commercial photographer in the late 1880s. He concentrated his work on Chicago-area architecture and city infrastructure. Today he is recognized as a pioneering photographer of architecture, working in Chicago at the very beginning of the skyscraper era. This superb photograph album presents a fairly comprehensive view of Chicago's architecture and life during one of the city's most interesting and vibrant periods, from the highest of the skyscrapers to the interiors of pig pens in the stockyards, with numerous residences, parks, lush interiors, the 1893 World's Fair, and more in-between. Taylor's importance as one of the earliest significant architectural photographers is addressed in Peter Bacon Hales' Silver Cities: Photographing American Urbanization, 1839-1939 : "Photographers of the older generation managed to retain their identities even as they adjusted to their more prosaic role as visual adjuncts to the architects who designed the buildings they photographed. J.W. Taylor of Chicago, for example, made an extensive survey of the "modern" buildings of Chicago and its environs, many of which traveled throughout the globe as architects and engineers converged on the city in the later 1800s and beyond to see the miracle of the Chicago style of building. Taylor's pictures went as far as Melbourne, Australia, in the collection of Australian architect E.G. Kilburn, who made his pilgrimage to the architects' mecca in 1889. Kilburn stared, sketched, and took notes; then he brought back photographs by Taylor of everything from the Pullman company town to the Palmer House." Chicago has been an especially important architectural center since the period represented in this collection. After the Great Chicago Fire of 1871 destroyed most of the buildings in the downtown area, a special class of architects and engineers flocked to the city, resulting in an architectural boom unequaled in the history of 19th century urban development. Hallowed names such as Louis Sullivan, Dankmar Adler, John M. Van Osdel, Daniel Burnham, William W. Boyington, William LeBaron Jenney, John Wellborn Root, William Holabird, Martin Roche, Edward Baumann, Harris W. Huel, Solon Spencer Beman, and Clinton J. Warren stamped their unique architectural character on the Chicago landscape. Each of these architects is amply represented in the photographs contained herein. There is even one photograph of the magnificent lobby of the Rookery Building, considered the grandest lobby in Chicago at the time. This view is especially interesting to architectural historians because this interior was remodeled a short time later, in 1905 by Adler & Sullivan's former head draftsman, Frank Lloyd Wright. The late 19th century was also a transitional time in building construction, when architects were beginning to leave behind cast iron frames and experiment with steel-frame construction and large areas of plate glass, especially in the "Commercial Style" made famous by Sullivan and others in the Chicago School. As a result, some of the earliest modern skyscrapers are found in Chicago. A general summary of the photographs in the album is as follows: forty-two buildings including the Masonic Temple (the tallest skyscraper in the world at the time), the Woman's Temple, the Rookery Building, the Chamber of Commerce, the Monadnock Building, the Northern Hotel, the Home Insurance Building, the Tacoma Building, the Caxton Building, the Pullman Building, the Oakland Hotel, the Grand Pacific Hotel, Palmer House, the Auditorium Building, Marshall Field's, the Lester Building, the Hotel Metropole, Libby Prison, the New Regiment Armory, depots, and churches; seven downtown street scenes; seventeen residential streets, including Lake Shore Dr. and Michigan Ave., and residences of prominent citizens, including Potter Palmer and Lambert Tree; twenty parks, pavilions, and recreation scenes; three of Grant Monument and its unveiling; ten Lincoln Park scenes, some with animals; three of Garfield Park; ten featuring World's Fair building construction; nine views of the October 1892 World's Fair dedication, showing ceremonies and a large parade; two scenes of boating; twelve views of stockyards and meat processing, six exterior and interior views of an auditorium; eight interiors including Palmer House and a bank; and three scenes of horse racing at Washington Park. Taylor's photographs reside in the collections of the Art Institute of Chicago (fifty-six images) and the Chicago History Museum (150 images). The subject matter of those collections, and the present work overlap significantly, testament to the prodigious nature of Taylor's output. For example, this collection has a significant number of images related to the World's Columbian Exposition (a.k.a., the Chicago World's Fair) of 1893; the Chicago History Museum collection contains no images from this monumental event in Chicago's history. A truly remarkable record of Chicago architecture by a significant photographer.

$27500.00

Dorsetshire Photographically Illustrated ... The detail and touch of nature faithfully reproduced by a new process on stone, by which views are rendered truthful, artistic and durable
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Dorsetshire Photographically Illustrated ... The detail and touch of nature faithfully reproduced by a new process on stone, by which views are rendered truthful, artistic and durable

By POUNCY, John C. (circa 1808-1894)

London: Bland & Long; Dorchester: John Pouncy, Photographic Institution, 1857. 4 parts in 2 volumes, oblong small folio. (10 1/8 x 14 1/8 inches). 79 photolithographic plates (one double-page). Lithographic title in vol. 1, prospectus, list of subscribers and ad leaf in vols. 1 and 2. Contemporary manuscript list of contents in vol. 1 mounted on the front pastedown. Publisher's slip laid into vol. 1 requesting subscribers to remit payment. (Minor foxing). Publisher's purple cloth, covers decoratively blocked in blind, upper covers lettered in gilt, yellow endpapers. Housed in a black morocco-backed box. A landmark in the intersection between photography and lithography: a rare complete copy of the first book illustrated with prints produced from photographic negatives transferred onto lithographic stones. "John Pouncy's Doresetshire Photographically Illustrated was the first book illustrated by photolithography to be published in Britain. A survey of mansions, churches and other places of interest in Dorset, the work was published by subscription in four parts in 1857, the first volume containing 39 and the second 40 plates ... As far as we know Pouncy's rare book was not only the first but remained the only attempt in book form to reproduce photographic views from nature by photolithography" (Gernsheim, History of Photography, p. 546). The author (or Projector as he refers to himself), writes in the introduction: "Believing the county of Dorset ... to be well deserving of a detailed Pictorial representation, the Projector of the present series of plates resolved to apply the art of Photograph to the purpose, and announced his work accordingly. Since that announcement was made, however, Photography has undergone various vicissitudes. Having at first been liberally and almost enthusiastically patronized by the public, it has now somewhat lost credit in consequence of a discovery, which time alone was able to make, and which time has unfortunately rendered notorious. It is found that Photographs very generally fade. Astonishing as is the effect, and almost perfect as is the beauty of some of these works of art, permanency is found wanting ... Under these circumstances the Projector of these 'Dorset Illustrations' determined to call in the aid of another art, that of Lithography; and thus, without forfeiting that exactness which is the peculiar characteristic of one, to ensure the quality of durability, which is unhappily wanting to it, by means of the co-operation of the other" (Introduction). The result is a curious intersection of photography and lithography, combining the realism of the former and the charming primitiveness of the latter. Although the views are produced from photographic negatives, Pouncy has added figures, animals and other details onto the stone. "What Pouncy had to achieve was to make photographs permanent. The long exposures still necessary meant that people and animals could not be included, so to give the pictures verisimilitude and life, he drew them in" (McLean). The transient nature of photographs would continue to inspire Pouncy, leading him to patent a controversial carbon process in 1858, and placing second in the Duc de Luynes competition in 1867. An expensive publication when issued (sold at 1£.1s per part) the book was published by subscription, with only one hundred and four listed subscribers. Although six parts were intended according the prospectus, only four were ever produced. Copies complete with all four parts and all 79 plates are exceptional. Goldschmidt and Naef, The Truthful Lens 132; McLean, Victorian Book Design and Colour Printing, page 128; Gernsheim, History of Photography, p. 546.

$8500.00

The Progress of his Royal Highness Prince Alfred Ernest Albert through the Cape Colony, British Kaffraria, the Orange Free State, and Port Natal, in the year 1860
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The Progress of his Royal Highness Prince Alfred Ernest Albert through the Cape Colony, British Kaffraria, the Orange Free State, and Port Natal, in the year 1860

By [SOUTH AFRICA]: [PHOTOGRAPHY]

Cape Town: Saul Solomon, 1861. Quarto. xii, 180 pp. plus photographically illustrated titlepage and sixteen mounted albumen photographs. Modern three-quarter calf and marbled boards, spine gilt with leather label. Light scattered foxing, occasional faint offsetting from images. Photographs generally clean. Very good. With Some of the Earliest Photographic Images From South Africa, With a Striking Portrait of a Basuto Chief An early photographically illustrated book, and the first such book printed on the African continent. The volume was made to commemorate the visit of Alfred, Duke of Saxe-Coburg and Gotha, one of Queen Victoria's sons. The book was designed to showcase the colony, which had hitherto been viewed in a less than positive light by the general British public. Prince Alfred was well-received by the colonists in South Africa, and the volume contains many positive facts about the colony's usefulness to the British Empire. The book includes seventeen images by photographer Joseph Kirkman, who was active in South Africa from 1859 to 1870. Some of the images in this volume are photographs of drawings or other artwork, but others do capture live scenes along the Prince's route, including a grand portrait of the African chief Moshesh and his advisors. The chief is pictured seated in the center of the image, dressed in a top hat and suit, holding a cane. The man seated next to him glowers at the camera and is draped in an animal pelt and holds a spear. Four men, all in Western dress, stand arrayed behind them. The images taken from life during the Prince's progress are as follows: [Untitled image on the titlepage showing several men next to a rail car full of large rocks. In 1860 Kirkman and Frederick York were employed by the Government and the Harbour Board to photograph the tilting of the first truck of stone off the Breakwater by Prince Alfred. This is, presumably, an image from that scene.] Graham's Town, from the West The Reception of the Prince by a Burgher Escort near Queenstown The Prince's Interview with the Tambookies Moshesh and His Counsellors The Prince and His First Wildebeeste The Prince's Travelling Equipage A rare and interesting work, and notable for being the first photographically illustrated book produced in Africa. Not in The Truthful Lens.

$4500.00

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