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Vellum sheet, 225 x 195 mm. 2 columns on flesh-side of leaf, 22 and 24 entries in brown ink in Merovingian administrative cursive minuscule. Lined on hair-side with sheets of papyrus with remains of 6th or 7th century uncials. Stored between glass within cloth case. Rare leaf from a major Merovingian manuscript of great historical and palaeographical importance, from the greatest centre of 7th century culture, representing the oldest manuscript of the Tours scriptorium. Its payprus reinforcements preserve part of what is by far the earliest manuscript of St. Ephraim's poem, and indeed the only papyrus witness of a classical text to have survived from antiquity north of the Alps. - The vellum leaf lists the names of 46 tenants of St Martin's Abbey, arranged by coloniae (districts), with the amounts they owed in produce to the community. The text has been published by Gasnault (pp. 310-314). The names, such as Childoberthus, Domoramnus, Dignon, Flanoberthus, Lupogisel, Genoaldus, and Theuderamnus, are among the earliest recorded Gallic names. - The text on the papyrus was identified by the Vatican librarian and scholar Cardinal Giovanni Mercati (1866-1957) from Montfaucon's early 18th century transcriptions, unaware that the original survived, as part of a Greek poem on the life of St Joseph by the Syriac theologian Ephraim the Syrian (ca. 306-373). It is written in a fine uncial of Coptic type of the 6th or 7th century, and by far the earliest and most accurate manuscript of the text. The presence of such a papyrus scroll would appear highly uncommon in early medieval Tours: competent Greek readers in the West were rare even in the 8th or 9th century (Laistner observes that they "can be counted on one hand", Thought & Letters in Western Europe [1931], p. 238), and those of the 7th century were even fewer. However, the scroll may have been more highly prized in the West for its material rather than its text: Gregory of Tours records that there was a substantial trade in the 6th century of papyrus into Europe through Marseilles, and clearly it was the material of choice over vellum, perhaps up until the Carolingian Renaissance. E. A. Lowe surveys the handful of extant papyrus codices and fragments from northern Europe in this period, none of which have ever been offered for public sale, and the present fragments are unique in suggesting the origin of the papyrus in Coptic Egypt. - The vellum manuscript to which this leaf belonged was written at the great 5th-century Abbey of St Martin, Tours, as several fragments now in Paris mention Abbot Agrycus of St Martin's. This is one of the earliest securely localisable manuscripts of Western Europe. The sheets were re-used as part of the binding of an 8th century copy of Philippus on Job in the library of St Martin's (MS 56 in the 18th-century catalogue of Tours Cathedral: see L. Delisle, "Notice sur les manuscrits disparus de la bibliothèque de Tours", Notices et extraits des manuscrits de la Bibl. Nationale 31 [1884], p. 215). They were seen in situ in the early 18th century by the great proto-palaeographer Bernard de Montfaucon (1665-1741), who published a description of them, with an engraving of the papyrus script in his Palaeographica Graeca (1708), pp. 214f., quoting a letter by Dom Léon Chevalier, ca. 1706, on these "Nobilia fragmenta inter membranas varias conglutinae". These were the only papyrus manuscripts Montfaucon had ever seen. - At the Revolution, the manuscripts from the cathedral were transferred to the Bibliothèque Municipale de Tours, and this volume was discarded ca. 1832. The binding was dismembered, and the main body of the volume was sold at auction in Paris in February 1832 (now in the Meerman-Westreenen Museum, The Hague, MS 10.A.1: Lowe, Codices Latini Antiquiores, X, no. 1571). Sir Thomas Phillipps (1792-1872) collected together 31 pieces from this binding: they were sold at Sotheby's in 1967 to H. P. Kraus, who presented them to the Bibliothèque Nationale, where they are now MS nouv.acq.lat.2654. The present leaf, with another, emerged in northern Germany in 1988. Pierre Gasnault concluded that these leaves were given by the 19th-century bookseller who sold the remainder to Phillipps, to Amans-Alexis Monteil (1769-1850) for services involved in the preparation of the catalogue: the note which accompanies this leaf, like that which accompanied the others in 1967, is in Monteil's hand ('Deux nouveaux feuillets', pp. 308f.). In 1833, Monteil sold his collection of paleographical specimens, and the present leaf was doubtless among them. Overall this portion of the text is in finer condition than that acquired by Phillipps, with the present leaf exhibiting the boldest hand of the whole cache. Having entered the Schøyen Collection, it was exhibited by the Comité International de Palaéographie Latin (CIPL) at Senate House, University of London, on 3 September 2008. When it was de-accessioned by Martin Schøyen in 2012, it commanded £157,250 at Sotheby's. - A natural flaw in the vellum and two small cuts with no damage to text, slightly trimmed with losses from inner and lower edges. Traces of paper down one edge of verso from re-use in later binding, otherwise in outstanding condition, with an early 19th-century description (this edited and discussed by Gasnault, "Deux nouveaux feuillets", p. 308). Both the leaf and the early description with the number "3" in early 19th-century hand in their uppermost corners. - 1. Benedictine Abbey of St. Martin, Tours (ca. 675-1789); 2. Bibliothèque Municipale de Tours (1789-1832); 3. Amans-Alexis Monteil (1769-1850), historian, France (1832-33); 4. Monteil sale, Silvestre, Paris 1833, lot 473; 5. Sotheby's, 20 June 1989, lot 26; 6. David Thomson, Toronto; 7. Sam Fogg Rare Books, London; 8. Schoyen Collection, MS 570; 9. Sotheby's, 10 July 2012, lot 15; 10. French private collection. - Pierre Gasnault, "Deux nouveaux feuillets de la comptabilité domaniale de l'Abbaye Saint-Martin de Tour à.

First octavo edition of Audubon's landmark work; one of the most spectacular collections of ornithological prints ever produced. Royal octavo, 7 volumes bound in full 19th-century morocco by P. Low of Boston with their ticket, gilt titles and ruling to the spine in six compartments within raised gilt bands, gilt ruling to the front and rear panels, gilt turn-ins, marbled endpapers, ribbons bound in. Illustrated with 500 hand-colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly and others, printed and colored by J. T. Bowen, wood-engraved anatomical diagrams in text. Presentation copy, inscribed by John James Audubon on the on the contents leaf of volume one, "Miss Lydia E. E. Greene with the affectionate good wishes of her friend and servant, John J. Audubon, Boston, June 8, 1844" and additionally on the front free endpaper of Vol. II., "Miss Lydia, E. E. Greene; and may God bless her, with the sincerest wishes ofÂher old friend and servant, John J.ÂAudubon, Boston, June 8, 1844." The recipient, Lydia E. E. Greene became a ProprietorÂofÂthe Boston Athenaeum in 1854.ÂÂAudubon spent only a few months living in Boston from 1832-1833, but the city made an impact on him; his wife Lucy wrote to Âa friend that the city â is a more interesting place than any I have seen in the United States, and where we met with a most cordial welcome and obtained eight subscribers to our work [TheÂBirdsÂofÂAmerica].â ÂAudubonÂexhibited sketchesÂofÂhisÂBirdsÂofÂAmerica at the Boston Athenaeum in August 1832. In very good condition with the plates exceptionally clean. Audubonâ s double-elephant folio editionÂofÂTheÂBirdsÂofÂAmericaÂ(1827-1838) established his reputation as the greatest ornithological artistÂofÂhis time. Though that edition was published in London to ensure the qualityÂofÂthe plates, he employed the Philadelphia firmÂofÂJ. T. Bowen to produce this more commercially viable edition under the close supervisionÂofÂhis sons. The original subscription price was $100, and its commercial success grantedÂAudubonÂfinancial security. To the original plate count included in the double-elephant folio edition, the octavo edition adds 65 new images for a totalÂofÂ500 plates, making it "the most extensive color plate book produced inÂAmerica up to that time" (Reese). "The most splendid book ever produced in relation to America, and certainly one of the finest ornithological works ever printedâ ¦ Audubon insisted on drawing from life, never from stuffed specimens, and was much in advance of his time in portraying the birds (in many cases unrecorded species) in their natural surroundingsâ ¦ The courage and faith of the Audubon family is breathtakingâ ¦ This immense undertaking, this unparalleled achievement, was not the production of a great and long-established publishing house, nor was it backed by a wealthy institution. It was the work of a man of relentless energy, with no private fortuneâ ¦ It is a story without equal in the whole history of publishingâ (Great Books and Book Collectors, 210-13). Nissen IVB 51; Reese 34; Sabin 2364Â.

4° (214x135 mm). Collation: α6, A-Z4, a-z4, Aa-Mm4, Nn6. [12], 458, [18] pages. Greek, italic, and roman type. Woodcut printer's devices on the title-page, and verso of the last leaf. Woodcut animated and decorated initials. Roman binding executed between 1545-1547 by Niccolò Franzese for Giovanni Battista Grimaldi. Gold- and blind-tooled dark brown morocco, over pasteboards. Covers panelled with interlocking central lozenge containing the horizontal plaquette of Apollo driving the sun chariot towards Parnassus, upon which Pegasus is standing. Traces of gold and green paint on the plaquette. The motto 'ορθοσ και μη λοξιωσ' is tooled around it. The title 'PIN/DARVS/POETA' is gilt lettered on the upper part of both covers. Spine with three double bands, decorated with a gilt line, alternating with four single bands, decorated with short gilt diagonals. A small foliate tool alternately vertical and in horizontal in the compartments. Gilt edges. Headbands renewed, expert repairs at spine extremities, joints and corners. In a modern brown cloth solander box. A very fine copy, light browning and spotting, repaired neat tear in on one leaf, tiny marginal hole in the final two leaves, a paper flaw to the lower blank margin of fol. t2. Flyleaves slightly wormed. The number '679' inked on the lower margin of the title-page.Provenance: Giovanni Battista Grimaldi (ca. 1524-ca. 1612; binding); Libreria Ulisse Franchi (sale Florence 8 April 1902, lot 450); the exiled Russian aristocrat Jacques de Zoubaloff (1876-1941); L. A. Barbet (inked ownership inscription on the upper outer corner of the title-page, 'A Barbet 300 c'; see Catalogue de la bibliothèque de feu M. L.-A. Barbet. Première partie, Paris 1932, lot 127, 'Precieux exemplaire portant au centre de chaque plat l'emblème [.] qu'on a longtemps cru être celui de Demetrio Canevari, médecin du pape Urbain VII, mais qui est celui du Duc Pier-Luigi Farnèse, fils du pape Paul III'); the Italian art historian Federico Gentili di Giuseppe (1868-1940); by descent to his daughter Adriana R. Salem, Paris (ex-libris with initials A.R.S. on the front pastedown); sale Sotheby's, 31 October 1977, lot 52); to the London bookseller H. D. Lyon (1917-2004; his notes); Michel Wittock (ex-libris on the front pastedown; see The Michel Wittock Collection. Part I: Important Renaissance Bookbindings, Christie's London 2004, lot 92). A marvellous example of an 'Apollo and Pegasus' binding: the copy of the second Latin edition of Pindarus' works, bound in about 1545-47 by Niccolò Franzese for the banker Giovanni Battista Grimaldi, from one of the great and wealthy patrician families of Genoa. Anthony Hobson identified three binders in Rome who were engaged by Grimaldi: Maestro Luigi, Niccolò Franzese, and Marcantonio Guillery. Niccolò Franzese was the most innovative among them. As indicated by his name, Nicolò Franzese – the binder responsible for the Pindar presented here – was a Frenchman by origin, born Nicolas Fery of Rheims. He probably settled in Rome as early as 1526. The cardinal-librarian Marcello Cervini employed him at the Vatican Library from 1549 to 1554, and in 1556 he was appointed Vatican Binder. He worked in Rome for the papal court and other high-profile clients from 1542 until his death in 1570-71. The covers are panelled with a central lozenge containing the celebrated medallion showing Apollo driving the chariot of the sun towards Mount Parnassus, upon which Pegasus is standing with the Greek motto 'ορθοσ και μη λοξιωσ' ('straight and not crooked') lettered around him. This device, or impresa, is a celebration of virtù, and was invented for Grimaldi by the Sienese humanist and secretary of Pier Luigi Farnese, Claudio Tolomei (1492-1556). Tolomei was further tasked with procuring, for Grimaldi, Book.

The earliest feasibly obtainable French edition, the fourth overall, of the romance of Tristan and Iseult (Isolde), giving Tristan his place among the knights of the Round Table. Considered the father of the French illustrated book, the Parisian bookseller Antoine Vérard issued four editions of Tristan, the most popular of the chivalric prose romances he published. His first, printed for him by Jean Le Bourgeois of Rouen and dated 30 September 1489, is the editio princeps, but it is not illustrated or decorated. Second and third editions, with illustrations, followed in c.1496 and c.1499. This fourth and last edition is also illustrated, but with some changes. "The same number of large woodcuts is used in the same places in the text, but they are not always the same woodcuts. Some were cropped, others must have worn out entirely, for they were replaced by new ones. In volume one, the combat of knights in the countryside appears again on fol. a1, but at the end of the volume, on fol. y4v, a woodcut originally used in Vérard's edition of Cesar's commentaries of 1488 is surrounded by decorative borders to fill up the requisite space. In volume two, three large woodcuts from Lancelot are re-employed: one of Arthur and Guinevere (fol. A1), another of Arthur and his knights at the Round Table (fol. D6), and a third representing Lancelot at the Douloureuse Garde" (Winn). Although Pickford estimates that Vérard published some 3,000 copies of Tristan in total, his four editions are all now very scarce, with ISTC recording no more than eleven holding institutions for any one edition. ISTC locates six only for this fourth edition, the British Library the only copy in the United Kingdom, four in France, one in Austria, and none in North America. This is the only copy of any Vérard edition to have appeared in auction in modern times. Tristan continued to be popular in France through the 16th century, with editions based on Vérard's published in 1514 and 1520 by Michel Le Noir and in 1533 by Denis Janot. An edition with text updated by Jean Maugin was published in Paris in 1554, reprinted in Lyon in 1577 and in Paris in 1586. The romance of Tristan and Iseult was probably created on the basis of early Gaelic legends. The Anglo-Norman troubadour Thomas of Britain wrote in French sometime between 1155 and 1170 and his Gaelic legends were already laced with Greco-Latin themes. This tradition gave rise to the German translation of Gottfried von Strassburg. In these early versions, Tristan is the son of Rouland and Blanchefleur. A different tradition was followed by Malory in his Morte d'Arthur, c.1470. In this tradition, Tristan is the son of King Meliodas of Lyonese and of his wife Elizabeth. The present version belongs to this "courtly" branch of the Tristan legend. The preface states that the Knight Luce, lord of the Chateau du Gast near Salisbury in England, has compiled this "authentic history" of the Chevalier Tristan. Provenance: Armand Cigogne (1860 sale, lot 1814); Jacques-Joseph Techener (1865 sale); Leon Techener (1889 sale, lot 143); Hector de Backer (bookplate; 1926 sale, lot 117); Edmee Maus (bookplate; library dispersed through the French and Swiss trade in the 1970s and 1980s); Christie's New York, 7 Dec. 2012, lot 89 (catalogued as third French edition). BMC(Fr) p. 426; Brunet V, 955; CIBN II p. 678; Delisle 1904; GW XI Sp.307a; Hillard 1987; ISTC it00431300; Macf 193; Moreau I 215: 172; Pell Ms 11180; Torchet 899. C. E. Pickford, "Antoine Vérard: Editeur du Lancelot et du Tristan", Mélanges de langue et de littérature françaises offerts à Charles Foulon, 1980, vol. I, p. 280; Mary Beth Winn, "Vérard's Editions of 'Tristan'", Arthuriana, vol. 19, no. 1, 2009, pp. 47 73. Two volumes in one, folio (293 x 208 mm), 336 leaves in total. Twentieth-century red morocco gilt, edges gilt, by Bauzonnet-Trautz. Housed in a quarter morocco folding case. 7 large woodcuts, 2 full-page, including one repeat. A few small scuffs to binding, two small marginal repaired tears on first leaf, lower outer corners of aa2 and y8 renewed not affecting text, some pale spotting at end.

Hardcover. Etat : Very good. First. THE MAJ. GEN. A.A. HUMPHREYS COPY. AN EXTRAORDINARY SUBSCRIBER'S SET WITH ALL 100 PART-WRAPPERS BOUND IN. 7 volumes. Voll. I-V: New York: J.J. Audubon and Philadelphia: J.B. Chevalier, 1840-1841-1841-1842-1842; voll. VI-VII: New York and Philadelphia: J.J. Audubon, 1843-1844. First octavo edition. Royal octavo (10" x 6 3/8", 255mm x 162mm). With 500 hand-colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly et al., printed and colored by J. T Bowen. Bound by Bradstreet's (signed at the upper edge of the verso of the front free end-paper; late XIXc?; re-backed, with the original back-strips laid down) in contemporary half green crushed morocco over marbled boards. On the spine, five raised bands. Title gilt to the second panel, author gilt to the third, number gilt to the fourth and imprint gilt to the tail. Top edge of the text-block gilt. Marbled end-papers to match the boards. Re-backed, with the original back-strips laid down. Scuffed at the extremities, but altogether a solid set. Foxed mildly throughout, though mostly to the text. Damp-staining to the upper fore-corner of II.191-212 (pp. 113-128), not affecting the text. Part 28 rear wrapper (vol. II) with a repaired hole; scattered small splits and repairs to the remaining wrappers. First free end-papers of voll. 1, 2 and 6 detached. Ownership signature of A.A. Humphreys to many of the wrappers (sometimes obliterated). John James Audubon (1785-1851) was a larger-than-life figure; tall, wildly-dressed, bear fat as hair pomade. His project of illustrating the birds of America, which in its original double elephant folio format was issued in parts 1827-1838, electrified British and continental audiences, and it is from them that the subscriptions to sustain that Atlantean effort were drawn. Once his dominance of the field was established, Audubon could turn to the more natural audience for the subject: Americans. This is the only octavo edition Audubon himself issued, and it allowed him to establish his reputation with those who could not afford the folio edition. The octavo edition is, in a sense, the homecoming of the work. Audubon added 65 plates to the double elephant's 435, bringing the number to 500. Audubon's son John Woodhouse reduced the original plates using a camera lucida, separating out multi-species plates and in many cases recomposing the backgrounds. The original division of the Birds project as plates-only, with the Ornithological Biography issued as a quasi-separate work (in order to avoid copyright deposit requirements), has been cured, so to speak; Audubon's Synopsis of the Birds of America (1839) provided the framework for reorganizing and reintegrating text and image. The project was a success, attracting some 700 subscribers willing to pay $100 for the 100 parts (14 each in voll. I-VI, 16 in vol. VII) issued over five years. The present set is in many ways exceptional, not least for the preservation of the 100 parts' wrappers printed on blue, buff and grey paper (i.e., 200: front and back). The wrappers for the text and plates are bound continuously at the rear of their respective volumes. Rare Book Hub records copies with wrappers bound in coming to auction 12 times, usually incomplete. The present copy belonged to Major General Andrew Atkinson Humphreys (1810-1883), who eventually rose to be Chief Engineer of the United States Army; he is listed among the subscribers of Washington, D.C. Humphreys led his brigade at Antietam, Fredericksburg and, catastrophically, at Gettysburg. Acquired at the Sotheby's New York sale of John Golden (22 November 2022, lot 1). Mr. Golden, long a client of Arader's, has through his life worked in the field of printing. His collection, amassed over forty years, contains examples of finely printed works of natural history. Ayer/Zimmer, p. 22; Bennett, p. 5; Church 1352; McGill/Wood p. 208; Nissen, IVB 51; Reese, American Color Plates Books 34; Sabin 2364.

Couverture rigide. Etat : Très bon. Paris, Baudry, Libraire-Editeur, 1844.8 tomes reliés en 4 volumes in-8 de : I/ (2) ff., 349 pp. (mal chiffrées 449), (1) f. de table ; (2) ff., 329 pp., (1) f. de table ; II/ (2) ff., 386 pp., (1) f. de table ; (2) ff., 363 pp., table au verso de la p. 363 ; III/ (2) ff., 310 pp., (1) f. de table ; (2) ff., 287 pp., (1) p. de table ; IV/ (2) ff., 297 pp., (1) f. de table ; (2) ff., 329 pp, (1) f. de table.Demi-veau bleu glacé, dos à nerfs ornés de filets dorés, plats de papier marbré, tranches mouchetées. Élégantes reliure de l'époque. 207 x 129 mm. --- Édition originale « d'un chef-d'?uvre inégalé. L'un des livres les plus lus dans le monde entier. » (Dictionnaire des ?uvres).Vicaire, III, 359-360 ; Carteret, I, 235.« Rare et très recherché. Rarissime en belle condition d'époque, atteint de très fortes cotes ». (Marcel Clouzot, Guide du Bibliophile français).« Les héros de ces aventures sont quatre gentilshommes, amis inséparables, mousquetaires de Louis xiii : Athos, en réalité comte de la Fère, a été ruiné par un tragique mariage avec une aventurière ; il est devenu mousquetaire par désespoir, il a l'âme romantique, noble et hautaine ; Porthos,- dont le véritable nom est du Vallon, est un géant débonnaire et vaniteux ; Aramis, ou le chevalier d'Herblay, arraché à sa Vocation religieuse par une aventure galante, oscille continûment entre un vague mysticisme, une habileté dans les intrigues toute jésuitique, des amours secrètes et fort aristocratiques, et une bravoure pleine de fougue. Aux trois premiers compagnons vient se joindre d'Artagnan, un Gascon courageux et rusé, qui arrive de sa prince natale, nanti des plus folles ambitions et d'un maigre pécule ; il deviendra le héros de l'histoire ».L'habileté avec laquelle cette ?uvre est conduite ne se retrouve dans aucune autre du même genre.A côté du roman feuilleton, qui venait d'apparaître avec les Mystères de Paris d'Eugène Sue, Alexandre Dumas cr? /// Paris, Baudry, Libraire-Editeur, 1844.8 parts in 4 8vo volumes [207 x 129 mm]: I/ (2) ll., 349 pp. (wrongly numbered 449), (1) l. of table ; (2) ll., 329 pp., (1) l. of table ; II/ (2) ll., 386 pp., (1) l. of table ; (2) ll., 363 pp., table at the back of p. 363; III/ (2) ll., 310 pp., (1) l. of table ; (2) ll., 287 pp., (1) p. of table ; IV/ (2) ll., 297 pp., (1) l. of table ; (2) ll., 329 pp, (1) l. of table. Blue half-calf, ribbed spines decorated with gilt fillets, marbled paper covers, mottled edges. Elegant contemporary binding. --- The First edition of "The three musketeers appears as an unequalled masterpiece and remains one of the most widely read book in the whole world" (Dictionnaire des ?uvres).Vicaire, III, 359-360 ; Carteret, I, 235."Rare and very sought-after. Extremely rare in beautiful contemporary condition, reaches very high prices." (Marcel Clouzot, Guide du Bibliophile français)."The heroes of these adventures are four gentlemen, inseparable friends, Louis XIII's musketeers: Athos, actually count de la Fère, has been ruined by a tragic marriage with an adventurer woman; he became a musketeer as a last resort, he has a romantic, noble and haughty soul; Porthos, whose real name is du Vallon, is an easy-going conceited giant; Aramis, or the knight d'Herblay, torn from his religious vocation by a gallant adventure, continuously fluctuates between a vague mysticism, a typical Jesuit dexterity for intrigues, secret and very aristocratic loves, and a bravery full of passion. To the first three companions is joining D'Artagnan, a brave and crafty Gascon coming from his native province, endowed with the craziest ambitions and small savings; he becomes the hero of the story."The skillfulness with which the work is led is not to be found in any other of the kind.Next to the serial novel that just appeared with the Mysteries of Paris by Eugène Sue, Alexandre Dumas created a new genre by using the appeal that the history of France had towards the.

couverture souple. - s.l. (Londres, Paris, Toulon.) 1791-1832, 12 000 feuillets de divers formats, en feuilles. - Exceptionnel ensemble des archives manuscrites inédites et complètes de Louis, Chevalier de Sade (1753-1832), auteur du Lexicon politique et cousin du Divin Marquis représentant environ 12 000 feuillets manuscrits dont plusieurs milliers inédits et écrits de sa main. Le Chevalier y expose un système de pensée de type «?holistique?», comprenant à la fois des réflexions historiques, politiques et scientifiques. Précieuses archives géopolitiques, historiques et scientifiques d'un aristocrate érudit, témoin privilégié de la fin de l'Ancien Régime, de la Révolution française, du Consulat, de l'Empire et de la Restauration. Fonds unique de recherches sur la mise en place d'une monarchie constitutionnelle. Si l'on regarde la Révolution Française comme la naissance de l'expérimentation de l'idéologie laïque et politique, le chevalier de Sade en fut sans doute un des premiers et précoces déconstructeurs. Non de la Révolution elle-même qui connut pléthore de contempteurs, mais de l'idéologie en politique, phénomène qui devait profondément marquer les deux siècles à venir. Ce qu'il nomme la «?politique positive?» est «?fondée sur le calcul et sur l'expérience.?». «?La théorie a eu des charmes pour moi ; je l'ai étudiée avec soin, j'ai savouré ses principes. Maintenant je n'apprécie leur valeur que par les effets provenant de leur mise en pratique, qu'on leur a vu produire chez les peuples dont l'histoire est parvenue à ma connaissance. C'est ma méthode ; je sais qu'elle est, du tout au tout, l'opposée de celles que nos gouvernants et nos faiseurs de constitutions ont suivies jusqu'à présent sans s'en désister. Cette divergence continuelle entre ce qui s'est fait et ce qu'on n'aurait pas dû faire, en augmentant ma confiance dans ma manière de procéder a fortifié en même temps ma résolution à persister dans la vue que j'avais adopté, de juger les législations par les conséquences historiques qu'elles ont entraînée après elles, plutôt que par les beaux raisonnements métaphysiques et supposés concluants, dont les novateurs n'ont cessé et ne cessent tous les jours de nous accabler.?» Le Chevalier de Sade, qui ne concevait le monde qu'au regard de ce qu'il fut, ne pouvait être autre que Royaliste. La démocratie n'avait pratiquement aucun exemple dans l'histoire connue du Chevalier, hormis les antiques sociétés grecques et romaines qui n'avaient expérimenté que des formes très élitistes de démocraties. Ces modèles sont d'ailleurs bien connus du politologue dont les archives contiennent plus de 7 000 pages consacrées à l'Histoire antique. La République portée par la Révolution, plus qu'une adoption d'un modèle politique, fut la réalisation politique d'un idéal philosophique. Or, si la plupart des opposants à ce nouveau régime y voyaient surtout une atteinte à leur situation personnelle, à leurs convictions religieuses ou plus simplement à leurs habitudes, les écrits du Chevalier de Sade ne relèvent d'aucune influence dogmatique ou, du moins, ne se justifient jamais par celle-ci. Louis de Sade, gentilhomme sans fortune et sans attache, est conservateur par conviction philosophique et historique, et non par intérêt. Et c'est avec une parfaite honnêteté intellectuelle qu'il étudie et commente les essais, mémoires et uvres politiques ou théoriques de ses contemporains. à contre-courant de la pensée des Lumières, le chevalier porte un regard très peu philosophique sur la société. Bien qu'il construise une véritable histoire théorique de l'évolution des hommes depuis l'état «?sauvage?» jusqu'aux constitutions des sociétés, il ne postule pas une nature idéale de l'homme, comme le font certains de ses contemporains (que ce soit pour justifier la politique ou pour la déplorer). Au contraire, le chevalier relève la césure entre l'être de nature et l'être de culture, sans porter de jugement moral ou philosophique sur celle-ci comme il était alors d'usage.

Pas de couverture. Etat : Comme neuf. Edition originale. "RARE COLLECTION de 1200 photos originales PARAMOUNT USA" Essentiellement des photos argentiques de plateau et d'exploitation réservées exclusivement pour les services de presse chargés de la promotion des films produits par la firme PARAMOUNT aux USA / Environ 1200 photos aux format: 25,5x20,5cm et 25,5x19,5cm toutes en très bon état sinon parfait état / cela concerne 67 films réalisés entre 1932 et 1939 par des réalisateurs comme Henry HATHAWAY, Frank BORZAGE, Mitchell LEISEN, Louis KING, Robert FLOREY, Alfred HITCHCOCK, Paul H. SLOANE, Wesley RUGGLES, Stuart WALKER, Marion GERING, Clyde BRUCKMAN, William HOWARD, Norman TAUROG, Archie MAYO, Ray McCAREY, George ARCHAIMBAUD, Elliott NUGENT, Ernst LUBITSCH, Paul CZINNER, George CUKOR, Harold YOUNG, Clyde E. ELLIOTT, Richard WALLACE etc. / avec comme acteurs principaux Gary COOPER, Randolph SCOTT, Gary GRANT, Henry FONDA, W.C. FIELDS, Maurice CHEVALIER, Harold LLOYD, Clark GABLE, John BARRYMORE, Ray MILLAND, Fredric MARCH, Georges RAFT, Buster CRABBLE, Akim TAMIROFF, Charles LAUGHTON, Fred MacMURRAY, etc. / avec comme actrices principales Claudette COLBERT, Frances FARMER, Sylvia SYDNEY, Carole LOMBARD, Dorothy LAMOUR, Mae WEST, Isa MIRANDA, Frances DEE, etc. / Collection visible sur rendez-vous près d'Avignon (Téléphone: 04 90 38 56 82).

Couverture rigide. Etat : Très bon. 800x600 Normal 0 21 false false false FR X-NONE X-NONE MicrosoftInternetExplorer4 Exceedingly rare first French edition dedicated to Anne of Brittany and first issue of ?De la louenge et vertu des nobles et clères dames? by Giovanni Boccaccio printed on the 28th of April 1493 by Antoine Vérard. BMC VIII 79 ; B.n.F. Rés. G-365 ; Brunschwig 280 ; CIBN B-519 ; Fairfax Murray, FB 50 ; Goff B-719 ; GW (+ Accurti I) 4490 ; HC 3337 ; IGI 1769 ; Macfarlane 25 ; Pell. 2478 et 2478 A ; Hain-Copinger, n° 3337 ; Proctor n° 8425 ; Brunet, I, 990. This copy is the only one complete to appear on the international market since 30 years. The first Latin edition was published in 1473 under the title De Claris mulieribus (some famous women), in Ulm. ?The work, written between 1360 and 1362, amplified and modified in the following years, contain the biography of 104 renowned ladies of all times, from Eve to the Queen Joanna of Naples; it is dedicated to the very beautiful Andrée Acciaiuoli, sister of the Grand Seneschal Nicolas Acciaiuoli, second wife of an Altavilla Count. The model of Petrarch and of his treaty of Notorious Men greatly influenced Boccaccio, as he admitted himself. The narrative vein is expanding there with a certain, freedom, like in the pages dedicated to the life of the Popess Joan, to the voluptuous lengths on the loves of Thisbe, to the history of the naïve Paulina, Roman woman loved by God Anubis, recalling quite closely the tale of Lisette and Angel Gabriel from the Decameron. ( ) As a whole, the volume is a compromise between the historical scholarship and the tale, a pleasing erudition book, aimed not only at men but also women, - whom, declares Boccaccio, as an excuse, being used to hear stories have a greater need of it and enjoy themselves with a copious story.? T.F. G. Rouville. The volume is illustrated with 11 woodcuts that, since repeated, form an iconographical cycle of 80 engravings. Most of them measure 87 x 80 mm and represent a queen with a child in her arms (23 times), a queen standing with some ladies in front of her (22 times), a woman breastfeeding twins in front of a landscape (17 times). Two other engravings come from the Chevalier délibéré, printed in 1488. Two engravings of different sizes, 140 x 86 mm, show a bishop at his writing case topped with a sage and a woman; they come from the ?Ars moriendi? printed by Le Rouge for Vérard, in 1492. Nine of these engravings were specially executed for this book and are therefore here in first issue. ?Extremely rare volume, illustrated with a certain number of beautiful woodcuts which are among the most interesting ones from the works published by Vérard?. (Rahir n°263). Copy including the signs of the first issue: - The title is printed with the mistake « nouellemet », corrected in the copy of the Pierpont Morgan Library. The Gesamt Katalog, Pellechet Polain 2478 and Hain mention « nouuellemet » with two U. - Leave i4 is signed hIIII. First great Italian prose-writer, Giovanni Boccaccio (1313-1375) was very famous in France, more than Dante and Petrarch, and this since the beginning of printing. He wrote as much for the people, who enjoyed the entertaining reading of the Decameron, as for the aristocracy who, in the De casibus virorum illustrium (translated into French Le cas des nobles malheureux), found a kind of ethical encyclopedia of the great men from the Antiquity. This first edition was printed by Antoine Vérard who dedicated the work to Anne of Brittany, wife of King Charles VIII. It was for the most part due to writers engaged by Anne of Brittany, or attracted by the possibility of her patronage, as Antoine Vérard could be, that literature to the praise and defense of women was promoted in the French court. The title only contains two lines of text. On the back of the title begins the translator?s preface, suppressed in some copies and supplemented with a miniature. In this copy it is coming with a woodcut showing the Queen Anne of Brittany seated.

Hardcover. Etat : Good. First octavo edition of John James Audubon's Seminal work. Audubon created 65 new images for the octavo edition of 1827-38; the original configurations were altered so that only on species is depicted per plate. The Octavo edition of Audubon's Birds was probably the greatest commercial success of any color plate book issued in the 19th century America. While Audubon had become internationally famous in the course of producing the double-elephant folio edition of the Birds in London between 1826 and 1839, it was the octavo version, issued at $100, which achieved widespread circulation and brought the work into the homes of many well-to-do Americans. The text is a revision of the ornithological Biography rearranged according to Audubon's "A Synopsis of the Birds of North America" 91839) Ayer/Zimmer p22; Bennett p5; Mcgill/Wood, p208; Nissen IVB 51; Sabin 2364; Stamped with National Character 34Seven Volumes, royal octavo (256 x 163mm). Subscribers' lists present in all volumes. 500 hand- colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly and others, printed and colored by J. T. Bowen, wood engraved anatomical diagrams in text (without half-titles,toned, some foxing chiefly to tissue guards and text but occasionally to plates, pl254 inverted, pl. 471 and pls. 486-490 bound out of order, with some nearby text pages also mis-ordered. 19th century green half morocco gilt, all edges gilt9rubbed vol I, V and VI with text blocks detaching, text blocks cracked in a few places with some leaves near ends working loose, S. H. Perkins inscribed in all volumes each dated 1885.Sold by Christie's of The private Collection of William S. Reese May 26, 2022.

Hardcover. Etat : Fine. [ENGLISH CHIVALRY IN A FRENCH ROYAL COPY] 4to. 106 unnumbered leaves. A-E4, F8, G-I4, K8, L4, M8, N4, O8, P-Q4, R8, S4, T8, U6. (Quire K misplaced after Quire G.) Lettre Bâtard. Title printed in red and black with large white on black criblé woodcut initial L , woodcut illustration on title also printed in red and black, 25 woodcut illustrations in text, some repeated, fine white on black criblé woodcut initials in two sizes, stamp of the Bibliothèque du Roi. Palais Royal in lower margin of title, booklabel of Ganay (crowned eagle in gilt) on pastedown, that of Jean Bonna below, shelf mark 3g G in late seventeenth hand on fly. Light age yellowing. A fine most beautiful copy in late 17th-century French red morocco by Luc-Antoine Boyet, covers bordered with a triple gilt rule, shield gilt at centres gilt lettered with Janvier 1696 , the arms of the Comte de Toulouse gilt above [Olivier pl. 2609, 1], spine with gilt ruled raised bands, richly gilt in compartments, title lettered in gilt, edges and inner dentelles gilt, marbled endpapers, all edges marbled and gilt. A wonderful, most beautiful copy, with remarkable provenance, of this extraordinarily rare chivalric romance concerning the English knight Guy de Warwick, almost certainly the only surviving copy in private hands and one of three known copies; the other two are held at the Bibliotheque National de France (one of which is substantially damaged).This copy of this work epitomises all the elements of bibliophilic desirability; it is beautifully printed with wonderful illustration, it was exceptionally bound by the Royal binder for a group of the most discerning bibliophiles, it has exceptional royal provenance, and is of the utmost rarity. The work was bound by Luc-Antoine Boyet (who would shortly after become the Royal binder in 1698) for a member of a very select group of bibliophiles known as Les Curieux made up of at least four members, Duvivier, Leriche, La Vieuville, and an as yet unidentified Grand Curieux . Isabelle de Conihout and Pascal Ract-Madoux describe them in detail, for the first time as a group, in the Reliures Francaises du XVII. Chefs-D Oeuvres du Musée Condé pp 64-110. The books bound for this group were exclusively important and extremely rare works in French or works translated into French and were bound by Luc-Antoine Boyet in what they describe as an archaïsantes style. The identical gilt shield with a date between 1695-6 (here Janvier 1696) occurs on many of these binding, see Conihout Ract-Madoux page 65 figure 1. The tools on this binding also correspond to those given by Conihout Ract-Madoux as those of Boyet s gilder, most notably the central fleuron on the spine (p. 110 figure 2) and the roll used on the inner dentelle p. (p. 110 figure A). These tool occur on the almost identically gilt spine of No. 26 in the catalogue which has the date 1695. Conihout Ract-Madoux suggest that the great bibliophile Jerome Duvivier was at the heart of this group of collectors and it is possible that this book was bound for him as he rarely signed his books, whereas the others in the group were prone to do so. This volume then made its way into the library of Louis Alexandre de Bourbon, Comte de Toulouse, the youngest son of Louis XIV and his mistress Madame de Montespan. Louis Alexandre was created Count of Toulouse in 1681 at the time of his legitimation, and, in 1683, at the age of five, grand admiral. Though his father had legitimated him and his three surviving siblings, and even declared his two sons by Madame de Montespan fit to eventually succeed him to the throne of France, this was not to be, as immediately after Louis XIV s death the Parlement of Paris reversed the king s will. Guy of Warwick is the English hero of a popular Romance in England and France from the 13th to 17th centuries. The story of Sir Guy is considered by scholars to be part of the romances of English heroes that form a loose corpus of Medieval literature that.

7 volumes, 8vo (10 x 6 1/2 in.; 25.4 x 16.5 cm). 500 handcolored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly, and others, printed and colored by J. T Bowen, numerous wood-engraved text illustrations (some full-page), half-titles and subscribers' lists, index in vol. 7; light toning to most plates, plate 141 (Ferruginous Mocking-Bird) browned, faint text offsetting to approximately 15 percent of the plates, offsetting from newspaper clipping affecting plate 108 (Bachman's Swamp Warbler) and text in vol. 2, tissue guards foxed throughout and lacking for plates 401-420, occasional foxing to text, chiefly marginal, title-page in vol. 7 browned and lacking half-title. Early full green morocco panelled gilt, spines in 5 compartments with raised ruled bands and lettered gilt, marbled endpapers; spine ends rubbed with nicks to bands and a clean tear to spine along the bottom of vol.2, a few nicks to spine of vol. 3. FIRST OCTAVO EDITION, ONCE OWNED BY ONE OF THE FIRST SUBSCRIBERS TO THE WORK. In a lengthy note on the flyleaf of volume 1, Mary Ann Tripp writes: "These books were presented|to me a New Years gift by my precious husband. I received the first| No. on the first day of the year that they were published, Jan. 1st 1840.|$1 per No. I Mary Ann Tripp | When they were bound, they cost just $100." Her husband, Lemuel C. Tripp, is listed as a subscriber from New Bedford, Massachusetts in volume 1. Tripp was the owner/agent of several whaling ships that plied the Pacific waters from 1829 through 1865. Job C. Tripp wrote of his relation in 1909 that he was "one of our leading citizens, director in the Fairhaven Bank and deacon of the Congregational church, and well to do. He told me that he never gave his note or hired a dollar in his life" ("The Old Men of Fairhaven," in the Old Dartmouth Historical Society Sketches, No.27, Proceedings of the Meeting of the Old Dartmouth Historical Society, Water Street, New Bedford, Massachusetts, 29 December 1909). After completing the double-elephant folio edition at great expense in England, Audubon returned to the United States and used the Philadelphia firm of Bowen to produce a more profitable octavo version under the supervision of his sons. The subscription price was $100, making it an expensive but appealing work for affluent individuals and well-endowed institutions. It enjoyed tremendous commercial success, with the initial offering attracting over 700 subscribers, and firmly established Audubon's reputation as the greatest ornithologist of his time. The octavo edition added 65 new images to the original plate count of the double-elephant folio. REFERENCES: Ayer/Zimmer, p. 22; Bennett, p. 5; McGill/Wood p. 208; Nissen IVB 51; Reese, American Color Plates Books 34; Sabin 2364; cf. Tyler, Audubon's Great National Work PROVENANCE: Mary Ann Tripp (lengthy note on flyleaf of vol. 1); Cornelius D. and Elizabeth C. Ehret of Philadelphia, Pennsylvania (loosely inserted Invoice in vol. 1 from the Village Bookshop, Washington Square, New York, dated 20 January 1933 and bookplate in all 7 volumes); Sotheby's New York, Important Americana, 24 January 2014, lot 16 (L64B3D).

1 vol in-12° (186 x 135 mm) manuscrit de [110] ff. de parchemin rédigé à l encre sur réglures tracées à l encre pâle de: [1] f. bl.), [6] ff. Note manuscrite de mariage à l'encre brune sur la 1ére contre-garde datée 1590. (calendrier calligraphié à l'encre brune et rouge sur 32 lignes avec lettrines enluminées), [102] ff. avec texte calligraphié sur 20 lignes, textualis formata ; 14 miniatures pleine page, 22 vignettes enluminés (Péricopes, Obsecro te, O intemerata et suffrages), initiales champies peintes dorées à la feuille avec entrelacs de fleurs trilobées en leur centre (sur six lignes), initiales champies dorées à la feuille (sur deux lignes) parfois avec antennes filigranées et fleuries, initiales dorées ou filigranées dans le texte, encadrements sur fonds criblé doré avec feuilles d acanthe bleues et oranges et petite végétation simple aux couleurs vives, bouts de lignes à l encre rouge et bleue avec un écu doré au milieu (litanies), rubriques, [1] f. bl. (rares salissures, traces d usage ou de frottements, corps d ouvrage demeuré frais et avec des coloris très vifs). Plein veau à entrelacs d'époque Renaissance avec vestiges de cires colorées et médaillon central (XVIe s.), dos à 5 nerfs orné, plats à riche décors d entrelacs dans encadrement de filets avec frise de feuillages et oiseaux, trace de cire blanche, bleue et rouge dans les entrelacs, roulette sur les coupes, tranches dorées, écoinçons et fermoirs de laiton. (restaurations au dos, petites usures ou défauts d usage) Somptueux livre d heures à l usage de Bruges ou de Gand produit au troisième quart du XVe siècle, manuscrit illustré de 36 peintures polychromes dont 14 à pleine page et 22 miniatures et orné de frises dans les marges et de nombreuses lettrines. Livre de liturgique destiné aux fidèles catholiques laïcs, le livre d'heures permettait de suivre la liturgie des Heures. Il se distingue du bréviaire ou psautier qui était réservé aux clercs. Fruit d un long développement initié au XIVe siècle pour rendre la liturgie accessible aux laïcs, sa production brille de mille feux au XVe siècle. Les artistes rivalisent d invention pour orner de leur main ces précieux volumes de dévotion privée. Les frères de Limbourg et Les Très Riches Heures du duc de Berry, Simon Bening et le Livre d heures de Hennessy, Jean Fouquet et les Heures d Étienne Chevalier, mais aussi une myriade de maîtres encore anonymes à l image du Maître de Bedford, en marquent les grands jalons jusqu à l irruption de l imprimerie qui en standardise la production. En complément de ce recueil de prières liées aux heures de la journée, le livre d'heures comporte le plus souvent un calendrier pour suivre l'évolution de la liturgie tout au long de l'année, et parfois des psaumes, les évangiles et des offices particuliers. Au moyen âge, avant l avènement de l imprimerie, en raison du prix très élevé des manuscrits et de leur faible diffusion, Il est souvent le seul livre possédé par les familles qui parfois y notent leur état civil : mariage, naissances, décès. C est le cas de notre livre d heures qui porte sur le premier contre plat cette émouvante inscription à l encre brune : « Ce dernier jour de septembre 1590, nous [Nom effacé : Claude Le Paige] lieutenant des gardes de son altesse de Bar Le Duc d une part et Alix de la Taxe d autre part avons épousée en face de la sainte église Catholique au lieu de Mircourt ». Avec sous les signatures l indication « Age 36 ans » et « Agée de 17 ans » et en dessous : « il mourut le 9 mai de l an 1610. Elle mourut le 14 septembre en l an 1622 » Notre manuscrit est entièrement rédigé en latin sur 108 feuillets recto verso. Il débute par les 12 pages du Calendrier à l usage de Rome/Utrecht : Variantes : 19 mars : Landoaldi pbri, 31 mars : Valerie v., 17 avril : Rufi mr., 7 mai : Gaudencii mr ( Godehardus ?), 14 mai : Corone Virginis, 21 mai : Valentis mr., 5 juillet: Donati mr. , 12 juillet: cleti pp., 5 sept. : Saturnini mr (rien à cette date dans CoKL), 12 sept. : Ypoliti, 12 oct. : Marvelli mr., 20 oct. : Asterius mr., 6 nov. : Winnoci abb. - ff. 7r-9v : Péricopes évangéliques - ff. 11r-14v : Heures de la Croix - ff. 15r-18 : Heures du Saint Esprit - ff. 18r-20 : Missa Beate Marie - ff. 21-23 : Obsecro te et O Intemerata - ff.24-31 : Suffrages (Sainte Trinité, Saint Jean-Baptiste, Saint Pierre, Saint Paul, Saint Jean, Saint André, Saint Laurent, Saint Jacob, Saint Martin, Saint Nicolas, Sainte Catherine, Sainte Agathe, Sainte Barbara, Sainte Marguerite, Sainte Marie-Madeleine, Sainte Anne) - ff. 33r-69v : Heures de la Vierge à l usage de Rome : 33r : Matines 43r: Laudes 50r: Prime (antienne «Assumpta es », capitule « Que est ista » ) f.53r: Tierce f.56r: Sexte - f.59r: None (antienne «Pulchra es » et capitule « In plateis sicut ») f.62r: Vêpres 67r: Complies. - ff. 71r-74v : Officium beate Marie quod dicitur per totum adventum - ff. 76r- 81 : Psaumes pénitentiels - ff. 82-85v : Litanie et pétitions - ff. 87r-108v : Office des morts à l usage de Rome (suivant le relevé de Knud Ottosen, ordre des réponds : 14, 72, 24, 46, 32, 57, 68, 28, 40). Les enluminures ont probablement été réalisées par un artiste actif à Bruges ou Gand (Belgique) vers 1470. Les éléments floraux des frises sont très similaires à d'autres livres d'heures de cette région produits à cette époque, notamment le graphisme et les couleurs des feuilles d'Acanthe. Liste des miniatures à pleine page : - f.10v : Crucifixion avec la Vierge et saint Jean ; à l arrière-plan un paysage de bosquets. - f.14v : Pentecôte dans le Cénacle. La Vierge est entourée des apôtres dans un édifice aux arcades ouverte laissant apercevoir l enceinte d un domaine. - f.17v : Nativité et adoration des anges. La Vierge tient l enfant Jésus devant deux anges agenouillés, dans un édifice gothique à colonnes et aux fenêtres en ogive. - f.31v : Annonciation. La chambre de la Vierge est de teintes orange et vert ; Gabriel porte une longue cape rouge. - f.41v : Visitation. La V.

8vo. Latin manuscript in brown and red ink on vellum, 67 ff. Italian rotunda, 22 lines. With 36 floriated initials in red and blue, large illuminated initial in gold and colours laid in to 1st leaf of text, and illuminated border decoration. Early 20th century Italian full brown morocco, elaborately stamped and coloured. The "Soliloquies of St Augustine", an inner dialogue on the matter of the soul. While throughout the Middle Ages and Renaissance the text was generally attributed to St Augustine of Hippo and it commonly preceded the "Confessions" in early medieval copies, the authorship is now doubted. - At the end of the volume, fol. 65v and ff. 66f. have additional texts added in several different hands, beginning with the Hymn to St Michael "Christiane vir fidelis, qui regnare vis in coelis" (Chevalier, Repertorium Hymnologicum III [1904], 24515) and the Hymn to St Christopher "martir Christoforo pro Salvatoris honore" (ibid., 29471), followed by other various prayers. - It may be possible to determine the original patron of the book: above the first rubric is an erasure that appears to begin "Iste liber" and include the name "Raimundi" (?); in the lower margin a shield of arms has been overpainted with gesso and gold, but traces of a blue ground survive, and from the back of the leaf a diagonal band (bend) can be discerned. - In the early 20th century the volume was acquired by and bound for the Italian engineer and industrialist Ernesto Pagnoni (1865-1928) of Vaprio d'Adda near Milan (see Fumagalli, Canonica d'Adda dalle origini ai giorni nostri, Zingonia, 1989). Pagnoni was active as a collector of manuscripts at least from 1908 onwards; his bookplate was designed by Sigmund Lipinsky in 1912. Many manuscripts owned by Pagnoni were bound by C. Glingler of Rome, who probably also fashioned the present, unsigned binding. Parts of his library were sold in Amsterdam by the renowned dealer R. W. P. de Vries on 2/3 December 1908. Other manuscripts once in Pagnoni's collection include the Lectura super libros sententiarum by Alfonso de Vargas y Toledo (now in Yale's, Beinecke Library, Marston MS 235), and an Ascetic miscellany, 1470-99 (now in the University of Pennsylvania, MS Codex 717). - The present manuscript was later acquired by the famous English bookseller W. A. Foyle (1885-1963), who founded Foyles bookshop in 1903, and bears his Beeleigh Abbey bookplate. Although Foyle had collected books from an early age, it was at Beeleigh Abbey in Essex, which he had purchased in 1943, that he was able to house the books properly, forming one of the largest English private libraries of the 20th century. - 1) Raimondi (?), 15th century Italian nobleman (erased patronage to head of first page and his overpainted arms in the lower margin). 2) Bound in the early 20th century for Ernesto Pagnoni (1865-1928) of Milan, with his large impressed stamp on inside upper cover and his initials in shields forming a frame to both inside covers. 3) Sotheby's, 2 July 1951 ("comprising the property of the Countess Le Gualès de Mézaubran; . Thomas Thompson, Esq. of Middlesbrough; . S. H. Cole; . A. W. Flay"), lot 14 (£28), to 4) William Alfred Westropp Foyle (1885-1963), British bookseller, with his burgundy morocco gilt bookplate to recto of first blank vellum leaf; a folded page of typewritten description of the manuscript in German tipped in. 5) By descent to his grandson William Richard Mervyn Christopher Foyle (1943-2022), aviator and bookseller. - Cf. Migne, PL 40, 863-898.

Hardcover. First Edition. A complete 28-volume set of the true first edition of Denis Diderot and Jean le Rond d'Alembert's Encyclopedie, comprised of 17 volumes of text and 11 volumes of plates. The text volumes were published between 1751 and 1765, the first seven listing Paris as their place of publication, and the remaining 10 volumes (all released in 1765) stating "Neufchastel". The titlepages of the text volumes include accent marks. These accord with the standard points for a true first edition. All 2,885 of the original plates appear to be present. Some bibliographies count the double-, triple-, etc. plates as multiples (rendering a count of 3,129 plates). The figure "2,885" reflects the numbering of the encyclopedists themselves and represents the total of originally included plates (See Darnton, The Business of Enlightenment). All text volumes are double-columned. All 28 volumes are bound in contemporary tree-calf, with banded and gilt-ornamented spines, and brown leather spine labels with gilt lettering. The textblock edges of all volumes are dyed red. All volumes have marbled endpapers, and (unless otherwise indicated) cloth bookmarks. Shelved in Room C. Sold as is. Text / Article Volumes ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME PREMIER; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1751; First Edition. Folio, [xii], [fold-out chart], lii, 914 pages, [errata page]. In good plus condition. Boards show light wear to edges, light plus bumping and wear to corners, and significant cracking to leather along joints. Textblock has light shelf wear and several instances of light soiling to edges, very minor age-toning to pages throughout interiorly, and some light foxing to first few leaves. The fold-out chart Systeme Figure des Connaissances Humaines is intact, but has a 1.5-inch tear along the bottom fold. Includes the famous frontispiece engraving by Cochin, with explanatory text, as well as d'Alembert's Discours Preliminaire. ALS of noted Diderot scholar Norman Torrey to Columbia President William Russell, dated November 11, 1953, laid in at front. Torrey explains to Russell how to determine if his copy of the Encyclopedie is a genuine first edition. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME SECOND; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1751; First Edition. Folio, [iv], iv, 871 pages, [one errata page]. In good condition. Boards show light wear to edges, moderate bumping and wear to corners, , some minor chipping to leather on covers and at head of spine, and significant cracking to leather along joints. Textblock has several instances of light soiling to edges, very minor age-toning to pages throughout interiorly, and some light foxing to first few leaves. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME TROISIEME; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1753; First Edition. Folio, [iv], xvi, 905 pages, [one errata page]. In good plus condition. Boards show light wear to edges, light plus bumping and wear to corners, and significant cracking to leather along joints. Textblock has light shelf wear to bottom edge, several instances of light soiling to top edge, very minor age-toning to pages throughout interiorly, and some light foxing to first few leaves. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME QUATRIEME; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1754; First Edition. Folio, [iv], iv, 1098 pages. In good plus condition. Boards show light wear overall, light plus bumping and wear to top corners, and moderate cracking to leather along joints. Textblock has light shelf wear to bottom edge, several instances of light soiling to top edge, very minor age-toning to pages throughout interiorly, and some light foxing to first few leaves. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME CINQUIEME; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1755; First Edition. Folio, [iv], xviii, 1011 pages, [one errata page]. In good condition. Boards show light wear overall, moderate bumping and wear corners, and moderate plus cracking to leather along joints. Textblock has several instances of light soiling, very minor age-toning to pages throughout interiorly, and some light foxing to first few leaves. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME SIXIEME; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1756; First Edition. Folio, [iv], viii, 926 pages, [two errata pages]. In good condition. Boards show moderate wear to edges, light bumping and wear to corners, and moderate plus cracking to leather along joints. Textblock has light shelf wear to bottom edge, several instances of light soiling, very minor age-toning to pages throughout interiorly, and some minor creasing to top fore-edge of blank leaves / endpapers at back of volume. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME SEPTIEME; Diderot, Denis; d'Alembert, Jean le Rond; Briasson, David, Le Breton, Durand : Paris, 1757; First Edition. Folio, [iv], xiv, 1030 pages. In good plus condition. Boards show light wear overall, light bumping to corners, and minor cracking to leather along joints. Textblock has light shelf wear to bottom edge and very minor age-toning to pages throughout interiorly. ENCYCLOPEDIE, OU DICTIONNAIRE RAISONNE DES SCIENCES, DES ARTS ET DES METIERS, PAR UNE SOCIETE DE GENS DE LETTRES. TOME H.

Hardcover. Etat : Fine. 1st Edition. This is the first edition, seven volume set with 500 originally hand-colored lithographs of John James Audubon's Birds of America. It was published from 1840 to 1844 in New York and Philadelphia by E. G. Dorsey and J. B. Chevalier for J. J. Audubon. The work was completed under the direct supervision of J. J. Audubon. The lithography and hand-coloring were completed by J. T. Bowen. The set is bound in early 20th century half brown crushed levant gilt, top edges gilt. Tissue guards, half-titles, and subscriber lists present to each volume.Prints and thus this beautiful complete set in truly wonderful condition of Birds of America are amongst the most sought after and collectible of hand-colored American prints. The first edition was the only one to be completed using strictly hand-coloring.John James Audubon (1785-1851) is perhaps the most famous of early American naturalists. Birds of America is one of the best examples of hand-colored work in America and is highly collectible. --- The set is in overall very good to excellent condition. There may be some light offset or occasional fox marks to a few plates as is typical with Audubon birds. There is some minor scuffing, but the bindings sound. Please review the images carefully for condition and contact us with any further questions on the work. --- Paper Size ~ 6 1/4" by 10".

H 23 x L 57,5 x l 29,7 cm, Superbe objet historique aux armes de la dauphine Marie-Thérèse-Antoinette d'Espagne, première épouse de Louis de France, fils ainé de Louis XV.Coffre de voyage en maroquin rouge aux armes.Pièce exceptionnelle par sa rareté, sa qualité et son origine princière, ce coffre a été confectionné en France par le maroquinier (ou coffretier-gaineur selon le terme en usage sous l'ancien Régime) L . Lecoq, dont la marque parlante est poussée sur la face postérieure (emblème de coq entourée de son chiffre L L) au fer doré sur le maroquin.Les Lecoq étaient une famille et une véritable dynastie de maroquiniers au savoir faire transmis qui seront de fidèles fournisseurs de la cour de Versailles tout au long du XVIIIe siècle (cf. coffre de la comtesse de Provence dans ce catalogue).Marie-Thérèse Antoinette Raphaëlle de Bourbon, infante d?Espagne et dauphine de France, née en 1726 à Madrid et morte en 1746 à Versailles est une princesse espagnole, fille de Philippe V et d?Élisabeth Farnèse qui fut mariée au dauphin Louis de France, ainé de Louis XV et futur père de Louis XVI (il ne régnera jamais) en 1745 afin de réconcilier la France et l'Espagne (parallèlement au mariage de Madame Première avec l'infant Philippe).Notre coffre consiste en une longue boîte rectangulaire, en bois, recouverte d'un maroquin rouge aux fers dorés, et fermée par un couvercle légèrement cintré retenu à l'ouverture par des rubans de coton bicolore cloutés sur les bords internes.Gainé à l'intérieur d'une doublure de tabis bleu soulignée d'un galon cousu de fil doré roulotté, il est orné d'une roulette de fers dorés courant le long des bords internes. Vide, il ne semble pas ou plus porter de marques de compartiments ou plateaux amovibles.Toutes les faces (cotés et couvercle) présentent un gainage de maroquin rouge aux grand fers dorés en encadrements. Ces fers à large dentelle de palmettes répétées très semblables aux fers dits "du Louvre" sont en bandes et soulignés sur tous les bords de roulettes dorées (2 motifs différents).Le couvercle porte, dans son tmotif en encadrement les armes de la Dauphine frappées au centre en écus accolés, entourées de palmettes et d'une roulette dorées et surmontées d'une couronne fermée. Elles présentent les armes du Dauphin sur l'écu de gauche (2 dauphins et répétition des 3 fleurs de lys) et celles de l'infante d'Espagne sur l'écu de droite (écartelé et plein).En écoinçons les meubles princiers, soit 2 dauphins (pour Louis de France) et 2 tours crenelées des armes de la Castille pour l'infante d'Espagne, se regardent en diagonale, chaque étant entourés de palmettes et surmontés d'une couronne fermée.Le coffre est fort joliement armé de garnitures de poignées de transports sur deux cotés, charnières et anneau sur le couvercle et d'une serrure ouvragée entourée de 2 loquets, le tout en cuivre doré et travaillé avec de petits motifs floraux.La clé est jointe et fait fonctionner parfaitement la serrure.Ce type de mobilier de voyage est un rare témoin du train que suivait toute princesse de France lors de ses déplacements. Ces petites malles pouvaient être destinées au rangement d'accessoires, de vaisselles, d'ouvrages divers. Les destinations peuvent etre multiqples.OHR, 2525.Le coffre est dans un très bon état de conservation. Il ne porte que de petites marques d'usure d'usage du maroquin, de discrètes salissures (poussière noircie aux garnitures ou face inférieure) ainsi que de petites restaurations (face inférieure ett cordons d'ouverture posés postérieurement, sans doute à la place d'équerres souvent du même métal que les garnitures extérieures sur ce type d'objet).La dorure est légèrement obscurcie ou oxydée sur l'ensemble des fers poussés.

H 23.5 x L 35.5 x l 21,5 cm, Superbe objet historique aux armes de l'épouse de Louis XVIII, roi de France, la Princesse de Savoie.Coffret de voyage en maroquin rouge aux armes qui suivra dans son nomadisme royal et européen Marie-Joséphine, Princesse de Savoie puis comtesse de Provence et surtout épouse du prétendant au trône de France, le futur Louis XVIII, durant son émigration, de 1791 jusqu'à son décès en Angleterre en 1810.Pièce exceptionnelle par sa rareté, sa qualité et son origine princière, ce coffret a été confectionné en France par le maroquinier (ou coffretier-gaineur selon le terme en usage sous l'ancien Régime) A. Lecoq, dont la marque parlante est poussée sur la face postérieure (emblème de coq entourée de son chiffre A L) au fer doré sur le maroquin.Fille de Victor de Savoie, roi de Sardaigne et Marie Antoinette, infante d'Espagne, Marie Joséphine Louise de Savoie, née en 1753, épouse en 1771 Louis-Stanislas de France, frère cadet de Louis XVI, tandis que sa s?ur épouse le futur Charles X.Elle ne s'adapte que difficilement voire peu à la cour et mène rapidement une vie isolée, d'autant plus que son union restera sans postérité. Elle terminera sa vie en émigration, en compagnie de sa lectrice, Marguerite de Gourbillon qu'elle aima passionnement, et de membres de sa famille.La comtesse de Provence se piquait de littérature et possédait une importante bibliothèque (plus de 1600 volumes) au moment de la Révolution française, uniformément reliée de maroquin rouge aux armes, tout comme son coffret présenté ici.Son train suivait donc ce canon et ses goûts, et ses fers nous sont donc connus et bien identifiés. Il est à noter cependant que notre exemplaire n'est pas repertorié par OHR même s'ils sont tous gravés selon les mêmes codes. En effet Lecoq était un coffretier-gainier dont le métier, les outils et les collaborateurs différaient certainement quelque peu des relieurs-doreurs, néanmoins les nuances sont minimes.Notre objet consiste en une boîte rectangulaire en bois, recouverte d'un maroquin rouge aux fers dorés, et fermée par un couvercle légèrement cintré retenu à l'ouverture par des rubans de coton bicolore cloutés sur les bords internes.Gainé à l'intérieur d'une doublure de tabis bleu soulignée d'un galon cousu de fil doré roulotté, il est orné d'une roulette de fers dorés courant le long des bords internes. Vide, il ne semble pas porter de marques de compartiments ou plateaux amovibles.Les quatre cotés présentent un gainage de maroquin rouge aux grand fers dorés en encadrements, fers à large dentelle dites "du Louvre" marquée pour chaque en écoinçons par les meubles princiers soit 2 fleurs de lys (Bourbon) et 2 aigle de sable becquée membrée et couronnée d'or (Savoie), chaque en diagonale.Le couvercle gainé de maroquin rouge porte une superbe dentelle dorée dite "à l'oiseau" en encadrement, répétant aussi vers l'intérieur les 2 meubles en écoinçons, mais ici surmontés de la couronne princière (non fermée) pour chaque.Les armes de la Princesse de Savoie, épouse de Provence, sont frappées en écus accolés au centre du couvercle et présentent à gauche l'écu de France "à la bordure engrélée de gueules" (duché de Provence), Marie-Joséphine ayant épousé le futur Louis XVIII alors qu'il n'était pas dauphin ou prétendant au trône de France. L'écu de Savoie à droite étant écartelé et non plein. Le fer est surmonté de la couronne de Prince (non fermée) et bordée de palmettes.Le coffret est fort joliement armé de garnitures de poignées de transports sur deux cotés, charnières et anneau sur le couvercle et d'une serrure ouvragée entourée de 2 loquets, le tout en cuivre doré et travaillé avec de petits motifs floraux.Ce type de mobilier de voyage est un rare témoin du train que suivait toute princesse de France lors de ses déplacements. Ces petites malles pouvaient être destinées au rangement d'accessoires de mode, perruques ou bijoux. Se différenciant du porte-document type de l'époque, plus généralement accessoire masculin, la taille de ce coffret pourrait laisser penser qu'il servit peut-etre à conserver des papiers ou des documents écrits.OHR, 2517 et 2549.Le coffret est dans un très bon état de conservation. Il ne porte que d'anecdotiques marques d'usure d'usage du maroquin, de discrètes salissures (poussière noircie aux garnitures ou face inférieure) ainsi que de petites restaurations (face inférieure ett cordons d'ouverture posés postérieurement, sans doute à la place d'équerres souvent du même métal que les garnitures extérieures sur ce type d'objet).Manquent la clé ainsi qu'une fleurette de cuivre doré sur le devant.

Folio (26 x 19 5/8 inches). The title-page and etched cartouche with the imprint of Chez Huquier, rue St. Jacques, of Paris, and initialled in the image "C.P.R." surrounding a calligraphic manuscript index ("possibly in Bellin's hand" - Sotheby's) laid down. 23 EXCEPTIONALLY FINE double-page engraved maps, the rhumb lines of one printed in olive green ink, of another two printed in sanguin, 2 full-page maps, for a total of 25 (of 29, lacking four maps) by Bourgoin le Jeune, Dheulland and others, all with original hand-colour in outline. A magnificent fine French binding of full contemporary red morocco, each cover decorated with elegant gilt borders and with the gilt arms of Jean Baptiste de Machault d'Arnouville, gilt inner dentelles, and the spine richly gilt in 8 compartments with 7 raised bands, with an olive green lettering-piece in one, all edges gilt. Provenance: with the gilt supra-libros of Jean Baptiste de Machault d'Arnouville (1701-1794); Christopher Henry Beaumont Pease, Lord Wardington (1924-2005), his sale, Sotheby's 18th October, 2005, lot 38. "This is probably one of the earliest collections of charts formed by Bellin after he had taken over the Marine Office and reprinted the Neptune François in 1753. The plates are by order of Monseigneur Le Comte de Maurepas, and his successor M. Rouillé, Chevalier Comte de Jouy, who in turn was succeeded by M. de Machault, around 1754, for whom this copy was bound" (Wardington Catalogue). Of the twenty-nine charts listed in the manuscript index it is doubtful whether six were ever present. These are numbers 5, 9, 14, 19, 22 and 23. Two maps have been added from other copies to replace maps 5 and 22 ("Carte reduite de l'Isle de la Jamaique" and "Carte reduite de l'ocean meridionale"). Maps that are relevant to America include the world map, a map of the North Sea showing the coast of Labrador, 2 maps of the Atlantic, the Pacific ocean, a map of the Gulf of Mexico, another of the the gulf of the St. Lawrence River, and 2 maps of the West Indies. There is also a fine map of the Philippines. Jacques Nicolas Bellin (1702-1772), the most significant and influential chart publisher in eighteenth-century France, was appointed chief cartographer and hydrographer to the French Navy in 1721. He was appointed "ingénier hydrographe" to the French navy's Dépôt des cartes et plans de la Marine in August 1741. Bellin was also a member of the Académie de Marine and of the Royal Society of London. During his 50-year career, Bellin published a number of atlases, including 'Hydrographie française' (1753), 'Carte de l'Amerique septentrionale' (1755), 'Petit Atlas Maritime' (1764), and 'Nouvelle méthode pour apprendre la géographie' (1769). His maps of the French territories in North America are considered particularly successful and valuable. Machault was nominated Controller of Finances in 1745, and introduced the "Tax de vingtieme", a levy of 5% on all income; it proved unpopular and he lost the support of Louis XV and Madame de Pompadour. In 1754 went on to become Minister of Marine, but in 1757 he was disgraced and retired to the country. From the distinguished library of Lord Wardington whose collection of Atlases was unique: "a panoply of the history of cartography and of great mapmakers" (Andrew Phillips "An Appreciation", Sotheby's sale catalogue). An attractive copy. Sabin 9141. Catalogued by Kate Hunter.

Folio (26 6/8 x 20 2/8 inches). Letterpress title-page and table of contents. Fine double-page engraved map of the world after the discoveries of La Perouse, and 33 further maps. Contemporary French red morocco gilt (a bit scuffed at the extremities). Provenance: Musée de la Citadelle Vauban, their sale 16th July 2010, lot 70. The fine maps, all clear dark impressions include "Carte générale de l'Océan atlantique ou occidental. Publié par ordre du Ministre pour le service des vaisseaux français en 1786", 8th edition, "Côtes d'Espagne : Guipuzcoa, Biscaye et Pays des quatre villes d'après les plans levés en 1788 par Don Vicente Tofino" 1793, "Port du Passage" 1793, "Baie, port et ville de Saint Sébastien" 1793, "Anse et barre de Bilbao" 1793, "Port de Santona" 1793, "Port de Santander" 1793, "Côtes d'Espagne : Asturies et partie de Galice d après les plans levés en 1788" 1793, "Anse de Gijon" 1793, "Port de Vivero, Ribadero et Cedeira" 1793, "Havre de Barquero et Estaca de Vares" 1793, "Côtes d'Espagne : partie de la galice depuis le cap Ortegal jusqu'au Cap Silleiro" 1793, "Plan des Havres de Ferrol, Betanze et la Corogne" 1792, "Port de Ferrol" 1793, "Port de Camarinas" 1793, "Anse et Havre de Corcubion" 1793, "Plan du Havre de Pontevedra" 1793, "Havre de Vigo" 1793, "Carte réduite de la Côte de Portugal. dressée d'aprés les opérations trigonométriques de M. Siera.En 1811. Dépôt général de la Marine en 1816", "Plan de la Bare de Lisbone" 1816, "Carte de la Côte méridionale de Portugal et d'Espagne. Tofino. Siera" 1804, "Plan du mouillage de Lagos. Sr Le Roy" 1737, "Plan hydrographique de la Baie de Cadiz levé en 1807. Dépôt général de la Marine" 1811, "Carte réduite des îles Açores. M. de Fleurie, 1769 et par Don Vicente Tofino, 1788. Dépôt général des Cartes et Plans" 1791, "Plans de la rade d'Angra et de Fayal" 1788 and 1791, "Carte des îles Canaries et d'une partie des côtes occidentales d'Afrique. Chevalier de Borda, 1780", "Carte particulière des îles Canaries et des Côtes voisines d'Afrique. Chevalier de Borda, 1776", "Carte réduite Guillaume de L'ISLE (1675-1726) 29 (212) Carte des îles du Cap-Verd.par Mr. d'Aprés de Mannevillette. M. de Fleurieu et de M. l Abbé de Pingré" 1774; extra-illustrated with "Carte réduite de l'Archipel des Bisagots. 1818 par MM. Givry. et Roussin" 1822, "Carte générale de la côte de Guinée. 1750", "Carte particulière de la Coste d'Or. Département de la Marine" 1750, "Carte réduite des Costes occidentales d'Afrique" 1754, "Carte réduite d'une partie des Costes occidentales et méridionales de l'Afrique" 1754. Compiled from charts available to the French Admiralty, and prepared for Napoleon I (Emperor of the French 1804-1814), who landed in Alexandria as part of his Egypt campaign in July of 1798. Once there, Napoleon's orders were to dislodge the English from their Oriental possessions, build a canal through the Isthmus of Suez, improve the situation of the Egyptian people and establish a permanent French colony. Defeated by Nelson at the Battle of the Nile in August, he nevertheless remained entrenched in Egypt and the Ottoman Empire until August of the following year, when he sailed back to France. Catalogued by Kate Hunter.

First edition. EVANS 103 - CLASSICAL ACCOUNT OF LAMARCK'S THEORY OF EVOLUTION. First edition, an extremely important association copy with extensive contemporary learned and critical annotations by a prestigious scientist and colleague of Lamarck. This was his most complete presentation of his theory of evolution, "a classic in the literature of evolutionary theory" (PMM). This copy was owned and annotated by the great French chemist Louis-Bernard Guyton de Morveau (1737-1816). The annotations are lengthy and well-informed, citing contemporary authors such as Cuvier, Cabanis, and Richerand, and demonstrate the great depth and breadth of the annotator's learning. Importantly, Guyton de Morveau adheres to the theory of evolution, unlike many of Lamarck's contemporaries. Part I of the Philosophie zoologique presents in detail Lamarck's theory of evolution as the result of two factors, the tendency of species toward increasing complexity and the influence of the environment, responsible for all variations from this norm. Although the concept of ranging all forms of life in a single series, from the simplest to the most complicated, dated back to antiquity, Lamarck's innovation was to suggest "that this scale corresponds to an order of historical development of the higher forms. This he did by tracing the progression in the reverse direction and observing the gradual changing, simplification and ultimate disappearance of the features distinguishing the higher forms as each lower scale is reached" (PMM). In Part II, Lamarck "developed his views on the physical nature of life, its spontaneous productions resulting in simple cellular tissue, and its characteristics at the simplest level, the lower ends of the plant and animal series . In [the third part] Lamarck deals in great detail with the problem of a physical explanation for the emergence of higher mental facilities . Lamarck's breakthrough was tying a progressive development of higher mental facilities in a physical way to structural development of the nervous system . Higher mental faculties could emerge precisely because they were a product of increased structural complexity . For Lamarck one of the most important events in the evolutionary process was the development of the nervous system, particularly the brain, because at that point animals began to from ideas and control their movements" (DSB). Darwin initially discredited Lamarck's theory but later redacted his opinion in the 'Historical Introduction' to the third edition of On the Origin of Species stating Lamarck "did the eminent service of arousing attention to the probability of all change in the organic as well as in the inorganic world being the result of law, and not of miraculous intervention" (PMM). "Lamarck's great intellectual journey began with a public address about evolution, delivered in 1800 during a month that the revolutionary government had auspiciously named Floréal, or flowering. He then developed the first comprehensive theory of evolution in modern science - an achievement that won him a secure place in any scientific hall of fame or list of immortals - despite the vicissitudes of his reputation during his own lifetime and immediately thereafter" (Stephen Jay Gould, The Lying Stones of Marrakech, p. 141). ABPC/RBH record the sale of only three other copies since Norman, and certainly none of comparable importance to our copy. Provenance: Louis-Bernard Guyton de Morveau (1737-1816) (extensive annotations throughout in his hand). "Lamarck states [in the Philosophie zoologique] that his new theory is needed in order to explain two well-known phenomena in the world of organisms. The first is that animals show a graded series of 'perfection.' Under increasing perfection Lamarck understood the gradual increase in 'animality' from the simplest animals to those with the most complex organization, culminating in man. He did not assess perfection in terms of adaptedness to the environment or by the role an organism plays in the economy of nature but simply in terms of complexity. The other phenomenon in need of explanation is the amazing diversity of organisms . A further ingredient added by Lamarck is the actual transformation of species in a phyletic line. 'After a long succession of generations . individuals, originally belonging to one species, become at length transformed into a new species distinct from the first' (pp. 38-39 - references here and below are to Elliott's English translation, 1914). Everywhere in his discussions Lamarck reiterates the slowness and gradualness of evolutionary change . 'An enormous time and wide variation in successive conditions must doubtless have been required to enable nature to bring the organization of animals to that degree of complexity and development in which we see it at its perfection' (p. 50). This is no problem because for nature 'time has no limits and can be drawn upon to any extent' (p. 114). "Numerous students of Lamarck's work have asked themselves what new observations or new insights had induced Lamarck to adopt this new viewpoint in 1800. What apparently happened was that, in the late 1790s, Lamarck took over the mollusk collection of the Paris Museum after the death of his friend Bruguière. When he started to study these collections which contained both fossil and recent mollusks, he found that many of the living species of mussels and other marine mollusks had analogues among fossil species. Indeed it was possible, in many cases, to arrange the fossils of the earlier and more recent Tertiary strata into a chronological series terminating in a recent species. In some cases where the material was sufficiently complete, it was possible to establish virtually unbroken phyletic series. In other cases, he found that the recent species extended far back into the Tertiary strata. The conclusion became inescapable that many phyletic series had undergone a slow and gradual change throughout time. Probably no other group of animals was a.

Trente-cinq volumes in-folio. Il se compose de 17 volumes de texte, 11 volumes de planches et 5 de suppléments dont 1 de planches et 2 de table. Avec un tableau dépliant au tome 1 dans le volume de texte (système figuré des connaissances humaines), des 5 tableaux dépliants dans les volumes I, II et III du supplément et 2926 planches environ (ou 3129 si l on compte les planches doubles ou triples). Intérieur exceptionnellement frais malgré de très menus défauts (Petit manque de papier en marge à la pl. LXXI au vol. VI et pl. II (orfèvrerie) au vol. VIII sans atteinte à la gravure et restauré, 2 petits trous aux feuillets d'Anatomie (texte et planches), une déchirure réparée sans perte en marge p.507 du T. XVI, petite déchirure réparée aux 3 derniers feuillets T.I suppl. occasionnant un petit trou avec perte de 3/4 lettres, une vingtaine de feuillets et 3 planches uniformément brunis (T.XI, T.XVI, T.IX des planches, T. I et III suppl.), légères rousseurs éparses au T. III suppl.). Les planches 20, 21 et seconde 22 (anatomie) au tome 1, pl. 27 (chirurgie) au tome 3, et pl. 1, 2 et 3 (hermaphrodites) sont volantes (retirées à l'époque car peut-être trop osées), la planche de l'Amidonnier est rapportée. Sans le frontispice imprimé en 1772, comme dans la plupart des exemplaires. Plein veau marbré , dos à nerfs ornés, pièce de titre et tomaison de maroquin rouge et vert. Reliure de l'époque en excellent état. (De légères éraflures sur 4 plats, très légères usures à qq. coins , minimes et habiles restaurations à 5 coiffes). Deux tomes légèrement plus grands avec petites variantes de fers. Edition originale de ce célèbre ouvrage, la plus grande entreprise de l'imprimerie mise au service de la pensée et de la technique française. L entreprise prend directement la suite d un ouvrage publié en 1728 à Londres par Ephraïm Chambers, intitulé Cyclopedia or an Universal Dictionary of Arts and Sciences, en 2 volumes. En 1739 Chambers vient à Paris pour lancer une version française de son encyclopédie. Il rencontre plusieurs éditeurs possibles, mais l affaire ne se fait pas. En 1745 le libraire parisien André Le Breton est contacté pour publier cette traduction française, mais là aussi les difficultés s accumulent et finalement Le Breton renonce à traduire Chambers et confie à Diderot et D Alembert le projet d une encyclopédie entièrement nouvelle : le contrat d édition de ce qui sera « notre » Encyclopédie est signé en 1750 et le premier volume paraît dès 1751. Chambers avait eu la prétention de publier « the best Book in the Universe ». Ce sera aussi l ambition des Encyclopédistes français, qui se distingueront du précédent anglais par deux infléchissements majeurs : la valorisation des arts « mécaniques » à côté des sciences purement spéculatives ; et la « philosophie » c est-à-dire, en l occurrence, le rationalisme. Le souci de valoriser les techniques n est pas surprenante chez un Diderot, fils d un maître coutelier. Si la Cyclopaedia de Chambers faisait déjà une bonne place aux arts et aux techniques, Diderot souhaite désormais mettre sur un pied d égalité d un côté les savoirs classiques, considérés comme « nobles », et d autre part les savoir-faire techniques, voire artisanaux : la boulangerie, la coutellerie, la chaudronnerie, la maroquinerie, etc. Ce souci, au milieu du XVIIIe siècle, va évidemment de pair avec la préoccupation du développement économique, considéré comme source de richesse et de confort. L article Réfugiés, au XIIIe volume, est un exemple parfait de cet état d esprit. Il valorise le travail, la richesse, et l industrie, par opposition aux valeurs de la noblesse, considérées comme désuètes. Quant au rationalisme, il est plus ou moins présent selon les sujets, car la philosophie des collaborateurs de l ouvrage est loin d être homogène. Les Lumières sont présentes partout, mais leur intensité est variable. On les trouve en tout cas dès le premier volume, dans le frontispice. À vrai dire ce frontispice ne figure pas dans ce premier volume dès sa parution, en 1751. On n y trouve, rédigée par Diderot, qu une « explication du frontispice » mais d un frontispice momentanément absent ! Il ne sera gravé qu en 1772 par Benoît Louis Prévost, sur un dessin de Cochin réalisé en 1764, et livré avec le dernier volume de planches « pour être inséré dans le premier volume paru vingt-et-un ans plus tôt » (C. Michel). Il faut maintenant en venir à la part que D Alembert a prise à la réalisation de ce « grand oeuvre ». Cette part est double, puisqu il en a été à la fois l un des deux codirecteurs et l un des principaux contributeurs. Outre les grands textes d'introduction (le Discours préliminaire, l Avertissement du tome III), D Alembert a rédigé plus de 1 600 articles, signés de la lettre O. C est une contribution importante, qui a concerné tous les volumes. À s en tenir au seul point de vue quantitatif, la contribution de D Alembert reste cependant inférieure à celle du chevalier de Jaucourt, véritable polygraphe, qui a signé plus de 17 000 articles (sur un total de 71 800), ou à celle de Diderot, qui en a signé ou co-signé près de 5000. Provenance : De la Bibliothèque du château de Mouchy-Noailles. 1806. N° 2526 du Catalogue rédigé par Léon Techener en 1872. Provenance prestigieuse, celle du château de Mouchy (Oise) et de la famille de Noailles, propriétaires successifs de ce château qui sera en grande partie détruit en 1961, en mauvais état depuis la seconde Guerre Mondiale. Si le château est dans la famille de Noailles depuis le 17e siècle, il faut attendre 1800 pour que Philippe Louis Marc Antoine de Noailles (1752 1819), duc de Mouchy, vienne s y installer. Lui et ses descendants vont agrandir et embellir le château. L'ensemble des ouvrages de l'Encyclopédie est resté tel qu'il était au chateau de Mouchy-Noailles, avec une petite variante de pièces de titre et de fers à certains volumes. Exceptionnel état de conservation des reliures et du corps de l'ouvrage.

3 vols. 20 parts in 2 vols. Folio. (435 x 290 mm). + 1 part in 1 vol. 4to. (279 x 234 mm). (Cahier V, issued separately - see below); vol. II: Cahiers XIII - XXI; vol. III: Cahier V. Cahiers I - IV - 109 engraved plates (including engraved index leaves). Cahier V: pp. 20 + 20 plates. Printed title with publisher's vignette, 'Table' verso, 2 leaves with 'Préface' and Chambers' text in French, final leaf with 'Approbation' and 'Privilège' at conclusion of text, with 20 double-page engraved plates, text and plates mounted on tabs throughout. Cahiers VI - XXI - 357 engraved plates (including engraved index leaves), cahier X with 11 plates as issued plus the additional 2 large folding plates. Various sheet sizes, numerous folding plates. Cahier II printed on thick blue paper. Occasional light spotting and toning, occasional minor tears to leaf edges and occasional minor repairs. Later calf-backed marbled boards, spines with gilt decoration and original black morocco and calf title labels retained, all edges speckled red, cahier V in original blue marbled paper-backed marbled boards. A complete copy of Le Rouge's expansive and virtually unobtainable publication on gardens in the Anglo-Chinese manner. The most impressive illustrated record of garden design produced during the 18th century, Le Rouge's publication is the fullest collection of engraved views of gardens in the prevailing Anglo-Chinese manner and also of contemporary gardens in other traditions; the range extends chronologically from George Loudon's early 18th century layout at Wanstead (well illustrated on six plates) to the Jardin de Monceau and Ermenonville. The plates comprise a great number of plans for gardens as a whole and for individual parterres, woodlands and labyrinths, also designs for pavilions, temples, kiosks, dairies and similar garden buildings in classical, Gothic and Chinese styles. There are additional illustrations of balustrades and trillage, bridges, menageries, aviaries, theatres and amphitheatres, grottoes, hermitages, greenhouses, follies, cascades, fountains and statuary. There is extensive coverage of the major gardens and a host of minor gardens in England, France and Germany. Among English gardens Stowe and Kew are dominant, alongside less expected ones like Blair Atholl and Buckingham House ( the garden of the future Buckingham Palace.) French gardens given prominence include those of the Chateau at Roissy, M. de Saint-James's garden at Neuilly, many gardens in and around Paris, Marly, the Trianon, and so on. A complete cahier is devoted to the Désert de Retz, a charming collection of landscaped ruins conceived by its dilettante owner the Chevalier de Monville. Germany is well represented by Pigage's Schwetzingen in its formal French style before the later picturesque additions, and by the garden of the episcopal palace of Werzburg, shown on six very fine plates after drawings by its designer, the court gardener J. P. Mayer. The Bagno at Steinfort, the Count von Bentheim's residence near Munster, gets the widest coverage of any European garden, taking up almost the whole of three cahiers in 54 plates. From the point of view of garden theory the most interesting parts of the work are cahiers IV and V. Cahier IV copies, in a different format and without acknowledgement, almost the whole of the illustrations of Overton's 'Temple Builder's Most Useful Companion' (published in 1766), and Wrighte's 'Grotesque Architecture' (published in 1767), both collections of designs for garden buildings intended for an English readership and now transformed for continental use. Cahier V - published separately but present here - comprises an edition in French of both text and plates of Chambers's Designs of Chinese Buildings, the only instance of the use of a printed - as opposed to engraved - text in the entire 21 cahiers and emphasising Chambers' importance as the interpreter of Chinese buildings and gardens to Western taste. Cahier V is almost always lacking from otherwise complete sets of Le Rouge as it was available separately, was issued in a different format and with its own title-page. The crowning feature of the Le Rouge compilation is a series of 97 plates, making up the four cahiers XIV, XV, XVI and XVII, which show the gardens and palaces of the Emperor of China. The original drawings for them were made in China after paintings on silk, at the instigation of the Swedish ambassador, and entrusted to the Marquis de Biencourt to be engraved in Paris. They go far beyond Chambers in their accurate depiction of the palaces and their surroundings, and they give the first really coherent picture of Chinese landscaped gardens with their pavilions, artificial mounds, numerous pavilions, zig-zag steps, streams with waterfalls and bridges, pines and ornamental trees and groups of stones. They comprise delicate landscape views, perspective views and that mode of plans in which the effect is conveyed by laid down front views. If they lack the novelty and something of the grandeur of the engravings done for Father Ripa they also provide a fuller coverage and the one cahier devoted to the gardens at Jehol which were the subject of the Ripa engravings also offers interesting historical comparisons, as the gardens had changed in the half century since their first illustration by Ripa. ' . ces planches ont été jadis fort recherchées; on en trouve difficilement la suite complète.' (Brunet). [Berlin Cat 3312 - 19 cahiers, 455 plates; Brunet III, 998].

*** Edition originale, remise en vente à la date de 1572. Exemplaire sur grand papier, réglé, dans une somptueuse reliure en vélin doré à la fanfare. Ce genre de reliure est très rare pour un livre d'un format aussi grand : 39 x 25 centimètres. Ces mémoires sont importants pour le règne de François Ier. Guillaume du Bellay avait entrepris d'écrire une histoire de France, dont la plus grande partie fut perdue. Son frère Martin, qui lui survécut jusqu'en 1559, recueillit ce qui restait du manuscrit original et se mit à le compléter. Il forma ainsi des mémoires qui se suivent de 1518 à 1547. "Montaigne a fait environ vingt-cinq emprunts à cet ouvrage. Plusieurs citent des phrases entières." Villey, Les lectures de Montaigne. Mais on n'a pas retrouvé l'exemplaire de Montaigne, qui, par ailleurs, jugeait ce livre trop favorable à François Ier. "Ce volume magnifiquement imprimé et fort rare, n'est pas seulement un monument historique important; il présente encore cet intérêt qu'on y voit observée, dès l'année 1572, la distinction entre l'u et le v, l'i et le j, distinction que Corneille ne devait faire prévaloir en France qu'en 1664." Picot, Catalogue des livres composant la bibliothèque de feu M. le baron James de Rothschild 2, 2118. Marque à l'olivier de l'Huilier sur le titre. De nombreux bandeaux et grandes initiales ornées. Il s'agit d'une remise en vente de la première édition de 1569, non signalée par les bibliographes. Seules la page de titre et les pages liminaires ont été changées. On trouve à la fin un achevé d'imprimer du 19 Janvier 1569 et les erreurs de pagination sont les mêmes que dans l'ed. de 1569 [136 au lieu de 139 - 149 pour 140 - 200 pour 190 - 248 pour 250 - 276 pour 278.] Ces erreurs sont corrigées dans les deux exemplaires de l'édition de 1572 que nous avons comparé, et qui portent un achevé d'imprimer du 28 Novembre 1571. Adams D-1000. Brunet I, 747.*** In-folio de (6), 136, 10, 137 à 350, (6) ff. Vélin doré à la fanfare, tranches dorées. (Reliure de l'époque.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * First edition, a reissue with the date of 1572. Large paper copy, ruled, in a sumptuous vellum gilt 'a la fanfare'. This kind of binding is very rare for a book of such a large format: 39 x 25 centimeters. These memoirs are important for the reign of king François I. Guillaume du Bellay had undertaken to write a history of France, most of which was lost. His brother Martin, who survived him until 1559, collected what was left of the original manuscript and began to complete it. He thus formed memoirs which follow one another from 1518 to 1547. "Montaigne made about twenty-five borrowings from this work. Several quote whole sentences." Villey, Les lectures de Montaigne. But Montaigne's copy has not been found, and he also considered this book too favorable to François I. "This magnificently printed and very rare volume is not only an important historical monument; it is also of interest because it shows the distinction between the u and the v, the i and the j, which Corneille did not make prevail in France until 1664. Picot, Catalogue des livres composant la bibliothèque de feu M. le baron James de Rothschild 2, 2118. Olive tree mark of l'Huilier on the title. Numerous ornaments and large initials. This is a reissue of the first edition of 1569, not reported by bibliographers. Only the title page and the introductory pages have been changed. One finds at the end a "achevé d'imprimer" of January 19, 1569 and the pagination errors are the same as in the 1569 edition [136 instead of 139 - 149 for 140 - 200 for 190 - 248 for 250 - 276 for 278.]. These errors are corrected in the two copies of the edition of 1572 which we compared, and which bear a colophon of November 28, 1571. - -.

Couverture rigide. Etat : Très bon. Paris, Imprimerie Royale, 1717.2 tomes en 2 volumes in-4 de : I/ (9) ff., 544 pp., 83 planches à pleine page, 4 planches sur double-page, tache brune p. 467, mouillure en marge des pp. 529 à 535 ; II/ (2) ff., 526 pp., (20) ff., 63 planches à pleine page et 1 planche sur double-page. Reliés en plein veau marbré, triple filet doré, emblème de la Toison d'Or au centre et aux angles des plats, dos à nerfs ornés du même emblème répété dans les caissons, pièces de titre et de tomaison de maroquin olive, double filet or sur les coupes, roulette intérieure dorée, tranches dorées sur marbrures. Reliure de l'époque.254 x 190 mm. --- Édition originale du « plus intéressant voyage sur le Levant » (Chadenat, 195) imprimée sur les presses royales du Château du Louvre.Cette édition ornée de « nombreuses gravures, plans, vues, costumes, figures d'histoire naturelle, etc., est la plus recherchée et la plus belle de ce curieux voyage ». (Chadenat).Pritzel, 321.Joseph Pitton de Tournefort, célèbre botaniste français (1656-1708) fut présenté à Louis XIV en 1700, et reçut alors de ce prince l'ordre de se rendre dans le Levant avec le dessinateur Aubriet et le médecin Gundelsheimer pour y remplir une mission scientifique. De 1700 à 1702, il visita successivement Candie, l'Archipel, Constantinople, la côte méridionale de la mer Noire, l'Arménie, la Géorgie, le mont Arurat, l'Asie Mineure, Angora, Pruse, Smyrne, Éphèse, envoya à Paris, des lieux qu'il visitait, des produits zoologiques, botaniques, minéralogiques, s'occupa en même temps d'étudier les antiquités, les m?urs, les coutumes, les productions commerciales, et fut nommé, à son retour, professeur de médecine au Collège de France.La ?Relation d'un voyage au Levant', écrite sous forme de lettres, se lit avec beaucoup d'intérêt et contient une foule de détails extrêmement curieux sur Candie, sur Constantinople, sur les m?urs et les coutumes des Turcs, etc. La parti /// Paris, Imprimerie Royale, 1717.2 parts in 2 volumes 4to [254 x 190 mm] of: I/ (9) ll., 544 pp., 83 full-page plates, 4 double-page plates, brown stain p. 467, waterstain in the margin of pp. 529 to 535; II/ (2) ll., 526 pp., (20) ll., 63 full-page plates and 1 double-page plate. Full marbled calf, triple gilt fillet, emblem of the Golden Fleece in the center and corners of the covers, spines ribbed and decorated with the same emblem repeated in the panels, olive morocco lettering pieces, inner gilt border, gilt over marbled edges. Contemporary binding. --- First edition of the "most interesting travel account about the Levant" (Chadenat, 195) printed on the royal press of the Château du Louvre.This edition illustrated with "many engravings, maps, views, costumes, natural history figures, etc., is the most sought-after and the most beautiful of this curious travel". (Chadenat).Pritzel, 321.Joseph Pitton de Tournefort, famous French botanist (1656-1708) was presented to Louis XIV in 1700, and then received from this Prince the order to go the Levant with the drawer Aubriet and the doctor Gundelsheimer to fulfill a scientific mission. From 1700 to 1702, he successively visited Candia, the Archipelago, Constantinople, the southern coast of the Black Sea, Armenia, Georgia, Mount Arurat, Asia Minor, Angora, Pruse, Smyrna, Ephesus, sent to Paris from the places he visited, zoological, botanical, mineralogical products, took care at the same time of studying antiques, the habits and customs, the commercial productions, and was appointed, on his return, Professor of medicine at the College de France.The ?Relation d'un voyage au Levant', written in the form of letters, is read with great interest and contains a host of extremely curious details on Candia, Constantinople, on the habits and customs of the Turks, etc. The part about Georgia is all the more interesting since this country was only known then by the already old accounts of Chardin and Della-Valle. The to.

Album with 25 original pochoirs on thick paper, mounted on cardboard leaves, each separated with thin blank sheets. In contemporary dark blue maroquin with gilt frames and title on the panels and spine. Presentation copy, with an autograph inscription card mounted onto the second front fly leaf "à Monsieur Tiphaine en signe de reconnaissance et d'affection respectueuse. L'auteur artiste Beauvalet de St Victor. ff [1 (title)] 12 [each twice, altogether 24]. A deluxe album of twenty-four exquisitely colored pochoir plates of Greek and Etruscan style vases and vessels by the French artist Beauvalet de Saint-Victor. Inspired by his travel to Sicily, Rome, Naples, Pompeii, and Herculaneum from 1833 to 1836, Beauvalet produced a series of pochoirs, colored stencil illustrations, of Greek vases and Etruscan bronze vessels, party-based upon his drawings of ancient pottery and bronzes, partly copied after D'Hancarville's lavish, hand-colored engravings of vases in the collection of Sir William Hamilton (XX), and partly re-imagined the classical subjects. Beauvalet's fine plates demonstrate his innovative use of stencils and pigments custom formulated to imitate the sheen of metal and glossy ceramics (Lyons, 2013). Very little is known about the artist who was born in Paris in 1780 and died around 1858. Beauvalet de Saint-Victor described himself as "Peintre Minerologiste breveté" (a patented mineralogist painter) alluding to his inventions of pigments with a uniquely lustrous effect and glossy surface. After a three-year sojourn in Italy, Beauvalet returned to France in 1836 and begun to publish books on artistic techniques and portfolios of various subjects such as calligraphy or Japanese pottery. At the same time he produced a collection of plates of Greek and Etruscan style vases and vessels under the title "Vases grecs et étrusques", which is considered as Beauvalet's most original contribution to, and most inventive application of the pochoir process for printmaking (Lyons, 2013). Beauvalet claimed that his technique is rather original drawing than mechanical reproduction, using an intricate and unique sequence of stencils, colored with the saturated tones and metallic pigments invented by himself. The plates of Vases grecs et étrusques were issued in fascicles of forty-eight pairs of which one was a terracotta vase and the other is a bronze vessel. Depending on the subscriber and their wallet the number of plates in the albums varied. A copy with ninety-six plates is held at the Getty Research Institute, which (just as other the British Library copy) differs from the present, bearing a variant title page with the date of 1845 indicated, and the plates are numbered in Roman instead of Arabic numerals. Extremely scarce, we could trace only four copies in institutional holdings with diverse contents, two in the US (Getty Research Institute; Avery Library at Columbia), and two in Europe (BL, UK; BCU Lausanne, Switzerland). Binding with traces of light rubbing. Inside clean. Overall in fine condition. Album with 25 original pochoirs on thick paper, mounted on cardboard leaves, each separated with thin blank sheets. In contemporary dark blue maroquin with gilt frames and title on the panels and spine. Presentation copy, with an autograph inscription card mounted onto the second front fly leaf "à Monsieur Tiphaine en signe de reconnaissance et d'affection respectueuse. L'auteur artiste Beauvalet de St Victor.

Etat : New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.

Etat : New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.

Bound in red maroquin, the panels ruled and decorated with a large, gilt floral design in the center, their fore and inner edges are gilt. Spine with five raised bands, gilt decoration, and title. Marbled pastedown. All edges gilt. (2) ff., 469 (ie 496) pp., (30) ff. Extremely scarce second, revised edition. Just as rare as the first (1569) of Montaigne's first book, the French translation of Theologia Naturalis, the important source of natural theology, written by Raymond Sebond, the 15th-century Catalan theologian. Sebond's text was composed around 1435 in Latin, and it was first published in 1487. It declares that not merely the Bible, but also Nature is a Divine revelation, and holding a position against the scholastic antithesis, the concept that reason and faith, philosophy and theology are antithetical and irreconcilable. Montaigne made his translation of Sebon's text on his father's request however his personal interest in the book and his affiliation to its content is conspicuous not only through this corrected and revised second edition, but also the corresponding ideas exposed in his 1580 Essais, and particularly by the Essais' long and most recognised chapter "L'Apologie de Raymond Sebond" (Book II, chapter XII.), an eloquent expression of Christian scepticism, wherein Montaigne poses the famous question "What do I know?" (Que sçay-je? / Que sais-je?), which is the intrinsic motif of the entire work and also served as Montaigne personal motto. Albeit this edition is sometimes referred as a reprint of the editio princeps, Alain Brieux, a Parisian bookseller, reported in 1958 the discovery of Montaigne's own copy with 229 inserted corrections in Montaigne's hand, which were incorporated into this 1581 edition. Ref.: USTC 1693; FB 47582; Adams no. S 40 (Gourbin imprint) [Bibl.: Brieux, Alain: Autres Souvenirs de Montaigne. In: Bibliothèque d'Humanisme et Renaissance, Vol. 20. Geneva: E. Droz, 1958. pp. 370-376.; Brush, Craig B.: The Apologie de Raimond Sebond. In: Montaigne and Bayle: Variations on the Theme of Skepticism.The Hague: MartinusNijhoff, 1966. pp. 62-120. Desan, Philippe: Montaigne. A Life. Princeton: Princeton University Press, 2017. 285-299.; Ramachandran, Ayesha: The Worldmakers. Global Imagining in Early Modern Europe. Chicago: The University of Chicago Press, 2016. pp. 86-94.] . Printed bookplate of P. F. Arminjon on front end pastedown. Ten leaves slightly over trimmed that has a minor effect on the initial or final letters of the printed marginal notes but no effect on their legibility. Overall a very well preserved and beautiful copy of this scarce volume. Bound in red maroquin, the panels ruled and decorated with a large, gilt floral design in the center, their fore and inner edges are gilt. Spine with five raised bands, gilt decoration, and title. Marbled pastedown. All edges gilt.

1 vol. in-folio (316 x 208 mm) de: [11] ff. (dont titre, dédicace, privilége, table), [1] f. bl., [277] ff., [14] pp. (table chronologique manuscrite); annotations manuscites d'époque. Ex-libris gravé et devise "Semper Jucti" sur le premier contre-plat. Marquis de Migien avec sa signature datée 1751 sur le second contre-plat. chevalier de St. Louis, ancien capitaine au régiment des gardes françoises, bibliophile bourguignon qui vécut au chateau de Savigny-les-Beaunes. (quelques galeries de vers en marge inférieure, défauts d'usage, salissures, taches, traces de pliures et petites restaurations aux premiers feuillets et au feuillet "O", le reste frais). Plein veau 16éme, double filet doré encadrant les plats, dos à nerfs ornés et titré à l or, tranches jaspées de rouge. (Quelques discrétes restaurations aux mors). Première traduction française par Eloy Maignan du plus célèbre traité de botanique de la Renaissance intitulé "De historia stirpium commentarii insignes" (Bâle, 1542) dû à Léonarth Fuchs (1501-1566), médecin et botaniste bavarois. Avec Hieronymus Bock dit Tragus, Otto Brunfels et Valerius Cordus, il est un des acteurs majeurs de l émergence de la botanique en tant que science naturelle à part entière, cette dernière alors très proche de la médecine en son temps. Exemplaire en coloris d époque entièrement réglé à l encre brune. Auteur de plus de 500 livres et pamphlets, il s oppose aux théories des médecins et philosophes arabes et ses textes concernant l anatomie de l il et ses maladies constituent une référence pour l époque. En 1535, Il est nommé professeur de médecine à l université de Tübingen au sein de laquelle il enseigne pendant 31 ans et fonde également le premier jardin botanique allemand. Il est aussi traducteur, commentateur et éditeur des travaux du médecin grec Claude Galien. En raison de sa contribution majeure dans le domaine de la botanique, le nom du genre fuchsia est en partie nommé en son honneur par Charles Plumier, qui découvrit ces plantes à Saint-Domingue à la fin du XVIIe siècle. Le présent ouvrage, traduction française de 1549, est illustré de 509 bois gravés dans le texte et de quelques planches hors-texte composées de 4 plantes, le tout en coloris d époque. Les dessins sont d'Albert Meyer et les gravures de Veit Rudolph Speckle. Ces dernières, qui ont été utilisées par l'éditeur bâlois Michael Isingrin pour l'édition in-8 de 1545, ont ici été réduites et inversées par rapport à celles de l'édition originale et sont gravées par Albrecht Meyer, Heinrich Füllmaurer et Veit Rudolf Speckle. Dans cet herbier, Fuchs décrit plus de 400 plantes sous tous leurs aspects : nom, forme, lieu, temps, odeur, tempérament ainsi que vertus. Pour ce faire, il s appuie principalement sur trois références antiques : Dioscoride, Galien et Pline. Si l auteur se focalise majoritairement sur les plantes allemandes, son travail est le premier à comporter des plantes provenant d'Amérique tels que le maïs, le cactus, le potiron, le haricot rouge, le piment, l' illet d'Inde ou encore le tabac. Le travail de Fuchs témoigne d un changement majeur dans l histoire des sciences naturelles en ce sens qu il constitue la première monographie de botanique médicale s inscrivant dans une véritable approche scientifique. A l époque, la botanique étant intrinsèquement liée à la médecine, les plantes étant très majoritairement étudiées pour leur vertu médicinale. Si Fuchs, lui-même médecin, s inscrit également dans cette approche, il démontre néanmoins une volonté d étudier également les végétaux pour eux-mêmes. Ce faisant, il participe à l émergence de la botanique en tant que science naturelle à part entière, bien distincte de la médecine. Les gravures qui accompagnent les descriptions des plantes sont d une rare finesse pour l époque et constituent ainsi une réelle avancée pour le dessin scientifique en botanique. De plus, Fuchs s investit sérieusement dans la réalisation des illustrations, contrairement à la majorité des auteurs de l époque qui en laissait la responsabilité à l éditeur. De cette manière, il s assure que chaque gravure montre clairement toutes les parties de la plante décrite. Afin que ses illustrations soient les plus complètes possibles, beaucoup de plantes sont représentées à différents stades de leur évolution en un seul et même dessin. Ce livre est aujourd hui reconnu comme une uvre historique majeure dans son domaine d après l université de Glasgow. Il est même considéré comme l'un des meilleurs livres illustrés de tous les temps et comme un chef-d' uvre de la Renaissance allemande par la Stanford University Press. Son approche scientifique très rigoureuse pour l époque aura permis d établir une nouvelle norme de précision et de qualité, en plus d'être la première publication connue de plantes originaires d'Amérique. Les bois de notre exemplaire sont finement aquarellés d époque et il comporte des annotations manuscrites contemporaines à l encre brune dans le texte ainsi que 14 pages de table supplémentaire de la même main. Très bel exemplaire, frais, conservé dans sa reliure d époque en parfait état. 1 vol. folio (316 x 208 mm) of: [11] ff. (including title, dedication, privilege, table), [1] bl. f., [277] ff. (handwritten chronological table); handwritten annotations from the period. Engraved bookplate and motto "Semper Jucti" on the first back cover. Marquis de Migien with his signature dated 1751 on the second flyleaf. Knight of St. Louis, former captain in the regiment of the French guards, Burgundian bibliophile who lived at the chateau de Savigny-les-Beaunes. Full 16th c. calf, double gilt fillet framing the boards, spine ribbed and titled in gold, edges speckled with red. (A few wormholes in the lower margin, defects of use, soiling, stains, traces of folds and small restorations on the first folios and on folio "O", the rest fresh). First French translation by Eloy Maignan of the most famous botanical treatise of the Renaissance entitled "De historia stirpiu.