BIRCH, William (1755-1834). Country Seats of the United States of North America, with some scenes connected with them. Springland near Bristol, Pennsylvania: W. Birch, 1808 [but 1809].

Oblong folio (210 x 277 mm). Line and stipple-engraved title-page with hand-coloring; line and stipple-engraved section title with hand-coloring; 18 line and stipple-engraved views with hand-coloring; one leaf letterpress introduction, 3 letterpress explanatory text. (Some intermittent spotting heaviest on 3 leaves, a few small marginal stains, a few short tears to title including one crossing image with old repairs verso.) Original drab upper wrapper, modern lower wrapper, letterpress paper label on upper cover (rebacked, foremargin of upper wrapper renewed, some chipping and staining); quarter morocco slipcase. Provenance: Martin P. Snyder (cited in the catalogue description for); Jay T. Snider (bookplate on chemise; his sale, Bloomsbury New York, 19 November 2008, Lot 222).

AMONG THE EARLIEST AND RAREST AMERICAN COLOR PLATE BOOKS -- THE SNYDER-SNIDER COPY

FIRST TRADE EDITION of Birch's work, the second book published in America, which was first issued in four parts to a limited number of subscribers. The edition in parts was met with little commercial success, but "Birch nonetheless proceeded to put his work into book form. After the issue to subscribers was complete, he reissued the plates as one volume in 1809 in a trade edition [as the present copy]. Very few copies appear now to exist. The make-up of the plates and letterpress was identical with the first issue except in three respects: notation of the copyright on the reverse of the title plate; substitution of the revised version of the view of Mount Sidney; and correction of the spelling on one of the plates from 'Mendenghall' to 'Mendenhall' Ferry" (Snyder).

Birch's work includes numerous views from the Philadelphia area (13 of the 20 views presented) and also includes views in Maryland, Virginia (including Mount Vernon), New York, New Jersey, and Louisiana. "Birch and his sons, Thomas and George, collaborated on the work, combining line and stipple engraving with delicate coloring to rich effect. The conception of Country Seats was primarily decorative, a handsome series of views aimed at an audience such as might possess country estates themselves" (Reese, Stamped with a National Character 2). Howes B-460; Sabin 5531; Snyder, "William Birch: His Country Seats," Pennsylvania Magazine, vol. 81, no. 3, 1957.