Ornithologiæ Libri Tres: In quibus aves Omnes Hactenus Cognitæ in Methodum Naturis suis Convenientem Redactæ Accuratè Describuntur, Descriptiones Iconibus Elegantissimis & Vivarum Avium Simillimis, æri Incisis Illustrantur. Totum Opus Recognovit, Digessit, Supplevit Joannes Raius. Sumptus in Chalcographos fecit Illustriss. D. Emma Willughby, Vidua

Londoni [London]: Impensis Joannis Martyn, Regiæ Societatis Typographi.., 1676.. First edition. Folio. (xii), 307, (5) pp. Early full vellum, remnants of original handwritten spine title. 77 engraved plates plus two folding letterpress tables. Some worming to the rear free endpaper and pastedown but not affecting any other adjacent leaves, degrees of browning to the contents, occasionally very dark, though a good number of the plates remain fresh, some minor wear to the extremities, else very good. Francis Willughby (1635-72) and John Ray (1627-1705) met as students at Trinity College, Cambridge. Whilst Ray's interests primarily led him to the study of botany, Willughby studied the animal world - firstly in Britain, then Europe between the years 1663-65 with fellow naturalist Philip Skippon. Ray published his account of their European travels and researches in his 1673 work "Observations Topographical, Moral, & Physiological; Made in a Journey Through Part of the Low-Countries, Germany, Italy, and France...". Considered "the foundation of scientific ornithology", Willughby's name is commonly attributed as the sole author of "Ornithologiæ Libri Tres..."; Ray downplaying his contribution to that of a mere compiler. However, he should be more correctly considered the joint author of this wonderful work, Willughby dying before he could collate and edit his extensive notes into a coherent whole. Thereafter Ray took on the task, largely rewriting and augmenting the rudiments of his friend's work. The cost of the engravings were born by Willughby's widow, Emma, and, for this reason, this issue of the book is often referred to as the "Widow's Edition". Though Ray privately expressed some dissatisfaction with the illustrations, partly due to failings in the engravers' work but also a result of defects in his own instructions to them, he also expressed pride, writing in the subsequent English edition of 1678: "...the Figures... are the best and truest, that is, most like the live Birds, of any hitherto engraven in Brass." Anker, pp.19-21. Keynes, 38 and pp.53-55. Wing, W2879. The first issue of the first edition with the title page printed in red and black and featuring the arms of the Royal Society.