New York: [c. 1870].
One of several Lockwood editions of Audubon’s Quadrupeds; three royal octavo volumes in the original brown morocco bindings, with ornately stamped decorative covers and spines; marbled endpapers; all edges gilt. The firm of Roe, Lockwood had taken possession of Audubon’s lithographic stones along with the copyrights during the Audubon family bankruptcy in 1862 [Reese 39]. The three volumes “contain 155 plates, being all of those in the original ‘Vivaporous Quadrupeds’ plus 5 of the 6 in the 1854 folio supplement” [Bennett 5]. ~The text was written by John Bachman -- Audubon’s friend and Lutheran clergyman who was an “able botanist” [Legacies of Genius, 128] who urged Audubon to take his time. The ever-enthusiastic Audubon was not to be slowed down: “My hair are grey, and I am growing old, but what of this. My spirits are enthusiastical as ever, my legs fully able to carry my body ... Only think of the quadrupeds of America being presented to the World of Science, by Audubon and Bachman” [Streshinsky, Audubon: Life and Art in the American Wilderness, p. 332].~Considered by some to be “more beautiful and more scientifically innovative than [Audubon’s] more famous Birds of America”, it is perhaps ironic that while most of the birds had been drawn from life...in the end “most of the animals were painted from memory, stuffed specimens, or even pelts... Despite these difficulties, the result was the most naturalistic depiction of American mammals ever done” [LoG, 128]. ~The set with a closed tear to one plate (II, no. 16, “Moose Deer”) discreetly repaired by a conservator; boards reinforced at the joints. (Sabin 2368; Bennett 5; Phillips 27; Reese 39; Legacies of Genius, 128; Streshinsky, Audubon: Life and Art in the American Wilderness).