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Hardcover. Etat : Near fine. First. THE RENDLESHAM-FAIRHAVEN COPY IN A FINE HARLEIAN-STYLE BINDING. Two volumes. London: Printed at the Expence of the Author: and Sold by W. Innys and R. Manby, by Mr. Hauksbee and by the Author at Mr. Bacon's; 1731-1743-1747. First edition. Folio (20 5/8" x 14 1/4", 523mm x 361mm). [Full collation available.] With 220 hand-colored etched-engraved plates and a double-page hand-colored etched-engraved map. Collated complete against Stafleu-Cowan. Bound in contemporary Harleian-style red morocco (re-backed): a central lozenge comprising small gilt tools and an elaborate gilt roll border. On the spine, 7 raised bands. Author and title gilt to green morocco in the second panel, number gilt to green morocco in the third. Gilt roll to the edges of the boards, continuing onto the inside dentelle. Marbled end-papers. All edges of the text-block gilt. Re-backed almost imperceptibly. With some nicks, scratches and small patches of soiling to the binding. Fore-corners a little bumped. Mild foxing throughout. A couple of short tears to the plates. Pigment oxidation with some attendant off-setting, notably to the folding map in vol. II. Armorial bookplate of Lord Rendlesham (covering another booksplate) to the front paste-down of each volume. Armorial bookplate of Henry Rogers Broughton, Lord Fairhaven, to the recto of the front free end-paper of each volume. Mark Catesby (1683-1749) was a pioneering naturalist who drew no boundaries around his interests. An inheritance from his father allowed him to cross the Atlantic to Virginia in 1712, and to make return journeys that brought him along the Atlantic coastline and to the Bahamas. He sent specimens back to Sir Hans Sloane, and meanwhile described and drew what he had seen in the unspoiled and unsettled southern part of the American Atlantic. Returning for good to England in 1726, and with the encouragement of Sloane and other members of the Royal Society -- to which Catesby was belatedly elected in 1733 -- spent the next two decades bringing his monumental and comprehensive account to completion. The text, in English and French, allowed the work to reach the widest possible audience in Europe. Although some are by others (notably Georg Ehret), the great majority of the plates were drawn and engraved by Catesby himself. He writes in the preface that he believes the illustration to surpass the description in importance, and it is those illustrations that made the Natural History popular enough to go into two further eighteenth-century editions as well as continental piracies. Catesby's style might seem naïve, but they considerably surpass the stiff -- heraldic, even -- illustrations -- especially of birds -- that had come before. His juxtaposition of fauna against flora, bringing a sense of landscape as well as behavior, was groundbreaking, and of great influence on his successors, especially Audubon. Peter Isaac Thellusson (1761-1808) was created first Baron in 1806. Lord Rendlesham inherited his father's home, the vast Rendlesham Hall in Suffolk, which stood until 1949. The rest of the elder Thellusson's fortune, however, was embroiled in one of the most celebrated and consequential probate cases, Thellusson v Woodford, thought to be the inspiration for Jarndyce v Jarndyce in Dickens's Bleak House. Eventually decided in favor of Lord Rendlesham, it took many years and the invervention of Parliament to resolve. Perhaps the obscured bookplate is that of the elder Thellusson? Henry Rogers Broughton (1900-1973), second baron, amassed one of the great collections of natural history books and art (donated to the Fitzwilliam Museum in Cambridge). The present volume was bought from the first part of his epochal sale (Sotheby's London, 18 May 2022, lot 42). Anker 95; Fine Bird Books 65; Great Flower Books 53; Hunt 486; Nissen, BBI 336; Nissen, IVB 177; Nissen, ZBI 842; Pritzel 1602; Sabin 11509; Stafleu-Cowan 1057; Wood 282.

Suite of 13 (out of 16) large copper-engraved plates (each measuring 505 x 864 mm approx.), laid down on slightly larger sheets with painted brown borders, with a printed poem in Chinese within each plate (based on Qianlong Emperor s own personal commentary on the battles). Later morocco-backed and cornered marbled boards, cloth ties. Chinese issue, following the Paris printing of 1755-59. The "Battle Copper Prints" are a series of prints from copper engravings dating from the second half of the 18th century. They were commissioned by the Qianlong Emperor of the Qing dynasty, who ruled from 1735 to 1796. They depict his 1772-76 military campaigns, led by General A-Kuei, against the Jinchuan tribes in China s inner provinces and along the country s frontiers in the ethnically Tibetan mountain regions of Szechuan. The master illustrations for the engravings were large paintings executed by European missionary artists employed at that time at the court in Beijing. They included the Jesuits Giuseppe Castiglione (1688-1766), Jean-Denis Attiret (1702-68), and Ignaz Sichelbarth (1708-80), as well as the Augustinian missionary Giovanni Damasceno Sallusti (d. 1781). The engravings of the first set of 16 paintings were not produced in China but in Paris, at that time home to the best European artisans working in this technique. The Emperor even decreed that the work must emulate the style of the Augsburg engraver Georg Philipp Rugendas (1666-1742), whose work he knew. Small-scale copies of the paintings by Castiglione and his Beijing colleagues were sent to Paris to be transferred onto copperplates, printed, and then sent back to China, along with the plates and prints. Later sets of engravings were executed in Beijing by Chinese apprentices of the Jesuits and differ markedly in style and elaborateness from those of the Paris series. - In the history of Chinese art, copper-print engraving remained an episode. Qianlong's "Battle Copper Prints" were just one of the means the Manchu emperor employed to document his campaigns of military expansion and suppression of regional unrest. They served to glorify his rule and to exert ideological control over Chinese historiography. Seen in their political context, they represent a distinct and exceptional pictorial genre and are telling examples of the self-dramatization of imperial state power. Later campaigns of Qianlong which were similarly commemorated include Taiwan (1786-88), Annam or Vietnam (1788), Gurkhas invasion of Tiber (1790), and Yunnan, Guizhou and Hunan (1795-1796). - The striking plates comprising this set appear to be examples of the Chinese versions printed later, with Chinese text within the plates and technical and stylistic differences which differ greatly from the earlier Paris "westernized" versions executed under the supervision of the accomplished Charles-Nicolas Cochin (1715-90). Such a large complement from this suite of sixteen from the Chinese printing is extremely rare: while copies of the earlier Paris printing have appeared on the market (a complete set sold at Christie s Paris, on 29 Oct. 2012), we have been unable to trace a comparable copy of the Chinese issue. The Getty Research Institute owns a suite depicting one of Qianlong s last print commissions, produced nearly 30 years after the first series, the "Ping ding Kuoerke zhan tu" ("Pictures of the Campaigns against the Gurkhas"), which likewise stands out as a highly unusual example of Chinese images executed with European graphic techniques. The Getty s suite is the only complete set in American public collections of this later work. The Taipei Palace Museum has a complete set of this series with the Chinese text apparently of the same issue. - In perfect condition. From the collection of Jean R. Perrette. - Shiqu Baoji, Imperial Catalogue. Chuang Chi-fa, Taipei Palace Museum - Ten Military Campaigns of Qianlong Emperor. W. Fuchs, in: Monumenta Serica, 4 (1939-40), p. 122. Paul Pelliot, "Les 'Conquêtes de l'Empereur de la Chine'", in: Toung pao 20 (1921), pp. 183-274. S. L. Shaw, Imperial printing, p. 22. Takata Tokio, "Qianlong Emperor's Copperplate Engravings of the 'Conquest of Western Regions'", in: The Memoirs of the Tokyo Bunko 70 (2012).

Hardcover. Etat : Very Good. 1st Edition. London: W. Innys, R. Manby, and F. Hauksbee, 1731-1743. Two volumes. Folio (20 3/8" x 14"). First edition. Text in English and French, title-pages printed in red and black, dedication leaves in both volumes, "Preface" bound in at the beginning of volume one, first issue of list of "Encouragers" with 154 names bound in at the beginning of volume II, page numbers of 20 pages of text at the beginning of volume II corrected by hand as usual (bound without the Index, or the 44-page "Account"). With 200 hand-colored engraved plates heightened with gum arabic (vol. I, pll. 23 & 24 heightened gilt), and a double-page engraved map. Bound in contemporary mottled calf (re-backed, with the original back-strip laid down) with the armorial supra-libros gilt of the 1st Duke of Sutherland within the Order of the Garter to the front board. On the spine, 7 raised bands, title gilt to morocco in the second panel, volume gilt to the third. Re-backed, with the original back-strip laid down. Extremities and hinges worn, bands rubbed, covers scuffed. Some foxing and off-setting throughout. Engraved bookplates of the Marquis de Cortanvaux on the front paste-down of each volume, and his ink library stamps on each title-page and the verso of the last leaf in each volume. Mark Catesby (1683-1749) was an English naturalist, who studied the flora and fauna of the New World. He drew and engraved most of his illustrations himself for accuracy and economy. He writes in the preface that he believes the illustration to surpass the description in importance, and it is those illustrations that made the Natural History popular enough to go into two further eighteenth-century editions as well as continental piracies. Catesby's style might seem naïve, but they considerably surpass the stiff -- heraldic, even -- illustrations -- especially of birds -- that had come before. His juxtaposition of fauna against flora, bringing a sense of landscape as well as behavior, was groundbreaking, and of great influence on his successors, especially Audubon. Originally issued in parts, with the preliminary leaves, including the dedication leaves, the Preface, the list of "Encouragers", the map, the Index to the whole work, and the 44-page "Account" of the country, all issued in 1743 with the last part. It is often the case that some of these leaves are absent, or that they are found bound within the second volume, as is the case with the list of "Encouragers" here. Francis Caesar de Tellier, Marquis de Courtanvaux (1718-1781), came from an aristocratic French family and joined the army at age 15. He became a scientist, and later assembled a library of travel accounts, including his reviews. The present item is listed in his library of 1782, as item 676. The supra-libros is that of George Granville Leveson-Gower, 1st Duke of Sutherland (1758-1833), Knight of the Garter from 1771. He was a British politician, diplomat and patron of the arts.

Hardcover. Etat : Very Good. 1st Edition. Together 10 (of 11) volumes, folio (19 x 15 in.; 48.2 x 38/1 cm). 6 PLATE VOLUMES: 600 EXCEPTIONALLY FINE engraved plates with original handcoloring after Manetti, Lorenzi and Vanni; a few loose plates, top outer corner of pl. 100 damaged, plates 197 and 198 torn in upper margin, repair to long tear on pl. 221, early closed tear on pl. plates 267 and 336 slightly shorter. 4 (of 5) TEXT VOLUMES: elaborately engraved half-titles by Lorenzi after Giuseppe Zocchi, 2 letterpress title-pages with engraved vignettes (one in Latin and one in Italian in each volume), parallel text in Latin and Italian, engraved headpieces on dedication leaves in vols. 1-3, engraved vignette of measurements on B2r (vol. 1), engraved allegorical plate by Lorenzi in vol. 4, engraved initials, descriptions for 480 birds; lacking vol. 5, minor marginal repairs to R1 and T1 (vol. 1), Q2 (vol. 3) and E1 and N2 (vol. 4). Contemporary half speckled calf, marbled paper boards, the spines in six compartments with five raised bands, red morocco lettering-piece in the second, the others with gilt-ruled borders and small decorations; a bit scuffed and a few small scrapes to spines, but attractive. FIRST EDITION, "ONE OF THE FINEST BIRD BOOKS ISSUED TO THAT DATE AND ONE OF THE MOST SUMPTUOUS PUBLICATIONS OF THE 18TH CENTURY IN ITALY" (Jackson, Dictionary of Bird Artists). Manetti was a physician and director of the Florentine Botanical Gardens from 1749-1782. He worked almost exclusively from real specimens, beginning with the extensive collection of Marquis Giovanni Gerini. The result was one of the largest surveys of ornithology attempted up to that date, a work which became "the flamboyant forerunner of the splendid ornithological folios which were to appear in the nineteenth century. The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767 and completed ten years later, it was larger, better engraved and more vividly coloured than any previous book on birds, notable for its lively posturing of the specimens which seem to reflect 'the habits and mannerisms of contemporary Italian society" (Dance, The Art of Natural History, p. 70). REFERENCES: Ayer/Zimmer. P. 241; Fine Bird Books (1990) p.120; McGill/Wood, p. 450; Nissen IVB 588 PROVENANCE: contemporary gilt initials "F.B." at the foot of each spine; remains of later printed paper shelf labels at the foot of each spine (L64F27A-B).

Folio (18 x 13 inches). 172 fine hand-colored engraved plates by J.M. Seligman, J.M. Stock and A.L. Wirsing after G.D. Ehret, G.W. Baurenfeind, B.R. and M.B. Dietschin, N.F. Eisenberger, J.C. Keller and others (plates 60 and 61, and 121 and 122 counted as one plate each, bound without plates 90, 126, 131, 135, 179 and 180, first two plates with slight vertical crease, plate 97 with small tear at fold not affecting the image). Bound without text. Contemporary mottled calf (joints cracked, extremities scuffed). "ONE OF FINEST RECORDS OF THE CULTIVATED FLOWERS OF THE PERIOD" (Dunthorne). First edition, bound, as often found, without text, which was not published simultaneously with the plates. Described by Blunt as "one of the most decorative florilegia of the mid-eighteenth century" with more than forty of the plates based on drawings by Trew's famous protégé Georg Ehret with whom he had collaborated on "Plantae Selectae". The spectacular plates are "full sized colored figures of Hyacinths, Tulips (over 20 plates), Ranunculi, Anemones, Caryophylli, Lilies, Auriculas, Roses, Narcissi, Iris, Cheiranthi, Asters, Fritilleries, Crown Imperials" (Dunthorne), and are some of the most sought after and important botanical prints in the world. It is no wonder that he became one of the foremost illustrators of botanical images of his time, at a time when it can be said that art of this nature was highly prized and passionately collected. Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret s "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as Hortus Nitidissimus [as here] (1750 86) and Plantae selecta e (1750 73), in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist, Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists in Holland. Some of his paintings of the exotics were engraved in Linnaeus's "Hortus Cliffortianus" (1737). "[Ehret] signed and dated his work, naming the subject in pre-Linnaean terms. He published a florilegium, "Plantae et papiliones rariores" (1748 62), with eighteen hand-coloured plates, drawn and engraved by himself. Ehret also provided plant illustrations for several travel books. His distinctive style greatly influenced his successors" (Enid Slatter for DNB). The number of plates bibliographers have associated with this work differs considerably: Brunet V:943 (calls for 190 plates); Dunthorne 310 (180 plates, actually 178); Great Flower Books p. 78 (180 plates, plates 60/61 and 121/122 are represented by one plate each); Johnston "Cleveland Collections" 493 (190 plates); Nissen BBI 1995 (180 plates, 60/61 and 121/122 each on one plate, referance to Tjaden with 190 plates); Pritzel 9500 (180 pl.

3 vols. Elephant folio. (656 x 490 mm). 83 engraved plates: composed of 3 engraved titles within rich ornamental borders by Lattré, 2 allegorical frontispieces (vols. I and III only) by Jean Charles François after P. Girardet, 2 engraved dedications to the French King (vols. I and III only) and 76 engraved plates, plans, sections and elevations and the two leaves of engraved text in vol. I ('Description du Rocher . au bas de la Terrasse du Château de Lunevile' with engraved head- and tail-piece, printed recto and verso of a single leaf) and vol. III ('Reflexion sur les Divers Batimens et sur Tous les Ornemens qui les Accompagnent' printed recto only and dated 1751); this copy also with the additional 'Mausoleum' plate added to vol. II. Sheet size: 644 x 462 mm. Full contemporary French crushed red morocco, front and rear boards to each volume with large central vignettes: the arms of Stanislas Leczinski with his bull's head, eagle and cavalier devices with the 'Croix de l'Ordre du Saint-Esprit' and the thistle of Nancy, large decorative corner tools with the repeated devices of Stanislas and the Nancy thistle at centre, all within three elaborate decorative borders with gilt-ruled divisions, turn-ins and board edges with gilt foliate roll tool decor, banded spines with elaborate decorative tooling, titles, volume numbers and the devices in eight compartments with fleurs-de-lys at head and foot, sky blue watered silk doublures and guardleaves, a.e.g. The rare first edition - a beautiful copy in contemporary red morocco with the arms of Stanislas Leczinski for whom the book was produced - of one of the greatest and most beautiful 18th century books on gardens and architecture. The volumes were composed, designed and engraved by Emmanuel Héré de Corny (1705 - 1763), a French architect, and Jean Charles François (1717 - 1769), a French engraver from Nancy. Héré was the chief architect to the twice-deposed Polish King, Stanislas Leczinski (1677 - 1766), who received the Duchys of Bar and Lorraine in the Treaty of Vienna. Héré devoted his entire professional career (1736 - 1763) to Stanislas and was almost single-handed in the design of the plans and direction of the works. The first two volumes, published in 1750 (or 1751), illustrate designs for the chateaux, parks, and garden pavilions Héré executed for Stanislas: Lunéville, Chanteheux, Malgrange, Commercy and Eineville. Also included are designs for churches (Saint-Remy and Bonsecours), the Hôpital Saint-Julien at Nancy, the altar of the chapel at Lunéville, that at Saint-Remy and so on. According to Millard: 'A first edition of 125 copies was produced . ' and that the information concerning the publication ' . is contained in the 1761 expense accounts for Stanislaw'. Stanislas? gardens at Lunéville included ?Le Rocher?, an extraordinary project of water-powered automatism designed by Héré and achieved with the skill of engineer and clock-maker François Richard. ?Le Rocher? included musicians, shepherds, a miller, a drunkard and so on, all performing actions suited to their rôles. Stanislas? guests, either strolling or boating, became active participants in the mise en scène of the tableau vivant. Stanislas? marvellous automata and their movements were described by Héré himself ?dont les movements sont si bien omits qu?ils ne paraissent point d?être l?effet de l?art.' The third volume, published three years later, is devoted entirely to illustrate the plans for the Place Royale de Nancy. In addition to plans and views of the three interconnected spaces in Nancy, the volume contains the designs of the structures adorning the processional route, including the Hotel de Ville, the Hotel Consulate, the Bourse de Commerce, and the Palace of the Military Government, as well as the triumphal arches, statues, fountains, and wrought iron grilles that ornamented the spaces. The ensemble is one of the major works of urban design of the eighteenth century. 'Stanislaw's gardens and parks were a major influence on French picturesque design, for they were visited by many French and European guests. Voltaire and the Comte de Girardin (the creator of Ermenonville), among others . and both Marc Antoine Laugier and Sir William Chambers described Stanislaw's gardens . '. (see Millard pg. 205). Copies of all three volumes in contemporary bindings are scarce but are known in original boards, calf (with or without arms) and, as here, in red morocco. As per the catalogue 'De Vitruve à Ledoux', which traces four known copies in red morocco, all feature small variations in tooling or variants in the combination of arms. Of these, one features the arms of the Dauphin (the son of Louis XV and father of Louis XVI, Louis XVIII and Charles X who pre-deceased his father and never ascended to the throne), two feature the arms of Stanislas and one further example, the present copy, features the arms of Stanislas combined with those of Nancy. 'Les beaux exemplaires en reliure aux armes sont rares: on connait celui de l'ancienne collection Pouillon [this copy], en maroquin rouge aux armes jumelées de Stanislas et de la ville de Nancy . celui aux armes du Dauphin fils de Louis XV ainsi que quelques exemplaires reliés en veau aux armes de Stanislas.' (Livres Précieux de XVe au XIXe Siècle, 2010). 'Mon père, vous êtes mieux logé que moi . '. (Louis XV to Stanislas Leczinski, King of Poland and father of Louis' wife). 'Stanislaw's architecture, executed by Héré, is known for its playful, exuberant character, its suprise effects, theatrical landscapes, and expression of the capricious and exotic taste of its patron . These luxurious volumes, produced to promote Stanislaw's claims to royalty and his connections with the royal house of France (his daughter was married to Louis XV in 1725), were designed in the manner of royal books of ceremonies, coronations, solemn entries, and funerary rites, by which sovereigns made known the majesty of their reign. The superb quality of the desi.

Together 3 volumes. Folio (22 x 14 inches; 20 6/8 x 13 inches). First two volumes: Text in Latin, mounted on guards throughout. General title-pages in Van der Krogt's variants 1B and 2B, half-titles, privilege leaf as found in variant B only. Additional engraved title-page to volume II (only, without engraved title-page to volume I, lightly browned and edges a bit frayed), 119 engraved plates of views, plans and monuments, comprising: 8 folding double-page plates, 76 double-page plates, 2 plates on one double-page, 25 full-page plates and 8 illustrations in the text, mounted on guards throughout, including plate 11 Bononia complete with the folding extension (the folding plate of Frascati a little creased at fold and with long tear affecting the image and another marginal tear to crease fold, but without loss, occasional light spotting and browning, heavier to about 11 plates, light marginal dampstaining throughout volume II, heavier and affecting the images in a few central gatherings). Contemporary Dutch gilt panelled vellum, all edges gilt (extremities rubbed, spines worn with considerable loss, lacking ties). Third volume: Letterpress title-page printed in red and black. Additional engraved title-page frontispiece, additional double-page engraved map of Italy by Sanson, published by Covens and Mortier, 2 double-page and folding, 26 double-page, and 11 full-pages of views in and around Naples and Sicily (some browning). Contemporary speckled calf, gilt (some surface tears, hinges a bit weak). Provenance: evidence of stamps removed from front pastedown and engraved title-page in volume II; with the large engraved armorial bookplate of John Holland, Heraldry Artist, BY WILLIAM HOGARTH, on the front paste-down of volume III. FIRST EDITION OF THE FIRST TWO VOLUMES OF BLAEU'S CELEBRATED BOOKS OF TOWNS AND MONUMENTS OF ITALY, accompanied and completed by the later 1724 edition of the third volume containing spectacular views of Naples and Sicily. The first two volumes are the original Latin edition, with volume I as Van der Krogt's variant C (no priority assigned) containing 6 extra plates. The second volume is devoted to Ancient Rome, with splendid views of circuses, theatres and amphitheatres. A large portion of this latter volume dealing with Egyptian obelisks is based on the works of Athanasius Kircher (1602-1680). These volumes are VERY RARE, only 'About 75 copies (single volumes included) are known.' The Blaeu family firm was founded by Willem Janzoon Blaeu (1571-1638) in 1596. He was eventually joined by his sons, Cornelius (1616-1648) and Joan (1596-1673). The firm became the most productive cartographic establishment in the Netherlands until it was destroyed by fire in 1672. The elder Blaeu initiated the great series of atlases that culminated in the "Atlas Maior", in which Joannes Blaeu incorporated much of the geographical knowledge bequeathed him by his father. With the engraved armorial bookplate of John Holland, by William Hogarth (1697-1764) who as one of the great exponents of cartoon, caricature and moralizing painting, was the originator of the celebrated "A Rake's Progress" (1734). He is known to have engraved three ex-libris (bookplates) of which the one for John Holland, as here, heraldry artist, is the most important. This is the rare first state of the plate, of which the shield was re-engraved to reduce the lion rampant's size and that of the fleur-de-lys. The second state is illustrated in the catalogue Ex-libris o el arte de identificar sus libros, Bogotá, 1988. Though more formal than much of Hogarth's work, this print shows the sureness of line and perfection of composition characteristic of his art. Previously in the Summers collection. 2i/3. William Hogarth (GB, 1697-1764), JOHN HOLLAND, C3, 107 x 103, c.1735. F15102. Viz. ELJ Vol. iii p. 1, BNL #55; Van der Krogt 43:211.1L and 43:211.2L; Koeman Bl 97. Catalogued by Kate Hunter.

3 volumes bound in one. 4to. (9 1/4 x 7 inches). First issue of the first complete edition. First Dutch edition. First edition of Volume III. Vol. I: [X]2 A-C4 D4 (-D4). 51 plates: 50 counterproofs watercolored by hand, 1 engraved hand-colored part-title; with letterpress title. pp.138. Vol. II (Tweede Deel): [X]1 *2 A-C4 D4(-D4). 51plates: 50 counterproofs watercolored by hand. 1 engraved hand-colored part-title, with letterpress title. pp.126. Vol. III (Derde en Laatste Deel): A-C4. 51plates: 50 counterproofs watercolored by hand, 1 engraved hand-colored part-title, with letterpress title. pp.126. 150 total plates in counterproof water-colored by hand almost certainly by Merian and her daughters Dorothea and Johanna, 3 engraved hand-colored part-titles of floral wreaths before letters, with 3 letterpress titles. pp.390. Many of the counterproofs with contemporary pencilled manuscript captions in French. Handsome contemporary Dutch paneled calf with gilt fleur-de-lis tooling on boards and blind-tooled patterning along board edges, five raised bands forming six compartments elaborately gilt-decorated spine with gilt lettering in the second compartment. Contemporary red marbled endpapers with painted edges. Binding likely by the Double Drawer Handle Bindery (fl.1697-1742) in Amsterdam who frequently worked with the printer Joannes Oosterwijk and bound the De Luxe issue copies of "Der Rupsen Begin" The first issue of the Dutch edition of Merian's "Der Rupsen," which is the first complete edition, with a full suite of 150 plates in counterproof water-colored by hand, almost certainly by Merian and her daughters. This unique "artist proof" of Merian's magisterial work on entomology and botany contains counterproofs of 12 plates from the 1679 German edition prior to their re-engraving and amending for the Dutch edition; no other copy we have consulted has the same. "Merian collected and raised insects, fed them with their host plants, observed them, described and drew their metamorphosis from egg to caterpillar and from pupa to buttefly imago. She then compiled her individual observations and studies in pictorial compositions. On the basis of these water-color drawings she ultimately published the final plates." - Maria Sibylla Merian, Preface Of the 150 exquisite plates in counterproof, there are 13 (II, III, VII, XI, XII, XIII, XVIII, XIX, XXVII, XXX, XXXIX, XLI, L) that were struck from the copperplates for the first volume of the 1679 German edition, before these 13 plates were re-engraved with additional elements for the Dutch edition. This inclusion of earlier-state counterproofs places this copy as an artist proof done during the production process, as well as the first issue of the first Dutch edition, and therefore the first issue of the first complete edition. These plates appear in counterproof in our copy, whereas they do not appear in counterproof in any copy of the German edition, which makes these 13 water-colored counterproofs unique variants. Adding to the evidence that this is the first issue of the Dutch edition (which was published in 1712 per Mulder, not Pfeiffer's erroneous dating of 1713) are the three part-title wreaths seen before letters and the inclusion in this copy of the announcement in Volume III for an appendix on Surinamese butterflies by Merian's daughter Johanna Helena Herolt, of which legendary Dutch bookseller Nico Israel writes, "That announcement was removed from all later issues." Landwehr writes, "The work was published uncolored as appears from the introduction to Part II, but upon request from the buyer Madam Merian would color the copy." (Merian: "Eenige Liefhebbers, dit wek met koleuren afgezet verlangende, za ik na vermogen genoegen geven.") Of the colored copies, those colored, as Landwehr writes,"contre-épreuves," or counterproof, as here, are the rarest and would have commanded the highest price, as more effort was required to print these: counterproofs are made not by running the sheets through the press with an engraved plate, but with a freshly printed image, thus producing a lighter print without a platemark, achieving an effect even closer to Merian's original paintings as the delicate print allows for finer coloring. However, this process introduces an entirely new, time-consuming and labor-intensive step into the production process, hence its rarity. Of the five copies Landwehr cites, only the copy at the Artis library at the University of Amsterdam is in counterproof (that copy has essentially the same marbled endpapers as the present copy). A number of these De Luxe issue counterproof copies were bound by the Double Drawer Handle Bindery in Amsterdam, including the copy that garnered $305,000 at Christie's in 2011. Following Storm van Leeuwen, this copy in handsome contemporary paneled Dutch calf tooled in gilt is almost certainly bound by the same atelier. To judge by the 13 plates here in which an insect, text, or floral detail were later added, this is likely one of the first copies produced by Merian and her team of daughters, if not an artist's proof, making it of unmatched interest. "In modern terms, Merian may be best characterized as an amalgam of natural history illustrator, naturalist, and, to a certain extent, entrepreneur." (Huxley) Maria Sibylla Merian, the daughter of the Swiss engraver Matthaüs Merian (1593-1650) was born in Frankfurt in 1647. After her father's death her mother married the flower painter Jacob Marrel in 1651 and Merian grew up in a household full of artistic and literary activity. She was trained in the arts by Marrel and Abraham Mignon. She married the Nuremberg painter Johann Graff in 1668, but divorced and collaborated with her daughters thereafter, including on a two-year (1699-1701) trip funded by the Dutch government to paint insects in Suriname. She was primarily interested in entomology, and her first book, on the insects of Europe, with fine colored plates of insects and flowers, was published in 1679. In Amsterdam, her pu.

Hardcover. Etat : Very good. First. THE BIRCH FAMILY COPY OF THE FIRST EDITION OF BIRCH'S VIEWS OF PHILADELPHIA -- EXTRA-ILLUSTRATED, WITH THE PROSPECTUS AND SUSBSCRIBERS' LIST. Published by W. Birch, Springland Cot, near Neshaminy Bridge on the Bristol Road, Pennsylvania. Dec.r 31.st 1800[-1805]. Oblong folio (14 5/8" x 17 7/8", 370mm x 454mm): engraved title-page and 30 (of 29) engraved plates (a plan and 28 views, plus an additional view). With a letterpress introduction, broad-sheet prospectus and subscribers' list. Bound in contemporary mottled calf with a gilt roll border. On the spine, six panels, with the title gilt to red morocco in the second. Presented in a drop-front red morocco clam-shell box with two XXc letters concerning the volume. Some pitting to the mottling and some rubbing generally. Joints strengthened with cloth. Some marginal damp-staining. Tanning, offsetting and foxing throughout. Repaired marginal tears to five plates. Some plates supplied from other copies. William Russell Birch (1755-1834) was born and trained in England by no less than Thomas Jefferys, the jeweler and map-seller, and Sir Joshua Reynolds, founding President of the Royal Academy. He brought this expertise to the New World, settling in Philadelphia in 1794. Whereas engraved city views were long-established in Europe, no collection of them had ever been printed and published in America. His target audience was wide; the title points to a European market, aiming to encourage emigration to the new-born nation whose Athens -- its capital (until just before the publication of the work) and intellectual heart -- was Philadelphia. The views -- notionally painted by Birch's son Thomas, who would go on to be one of the great American landscape painters -- were exceptionally popular, resulting in several states and three later editions within Birch's lifetime. Subscribers included Thomas Jefferson as vice president (it is written that he displayed the volume at the entrance to his office once president), Gilbert Stuart and William Hamilton. Coloring was available at an additional cost; thus the work is slightly misleadingly termed a "color-plate book." In the present item, 21 of the plates are in the first state, 8 are in the second and 1 in neither state described by Snyder; the additional plate (Schuylkill Bridge High Street) corresponding to Snyder (1949) 43a, dated 1805, and not from any edition of the collection. This mix of states and the additional plate -- as well as the prospectus (which is found in few copies) and the list of subscribers (found in most copies) -- becomes clearer in view of the provenance of the volume: by descent through the author's family. To a work of the greatest rarity -- Howes gives it his highest rating of "dd:" "superlatively rare books, almost unobtainable" -- this unique provenance and make-up add a nonpareil scarcity and value. The provenance of the volume is established by two letters, dated 9 and 20 February 1962. The former (3 typed pages) is on the letterhead of The Old Print Shop, run by the Newman family then as now. Mr. Newman writes to Mr. Robert L. McNeil, Jr. of Philadelphia with a description of provenance and a thorough collation. The second letter (four manuscript pages signed) is written and signed by Helene Somers Millar (Newman's Mrs. William Millar). Mrs. Millar describes her discovery of the portfolio in a secretary that she inherited by way of William Birch's daughter Albina, her great great grand-mother. Robert Lincoln McNeil Jr. (1916-2010) was a pharmaceutical executive best known for developing and selling Tylenol. He was raised in the Germantown section of Philadelphia, and became a life-long philanthropist in the region, a collector as well as a patron of the arts -- a legacy that persists in the Barra Foundation, of which he was founder. The present item was purchased at his sale (Sotheby's New York, 5 December 2013, lot 3). Deák 228; Howes B 459 (dd); Sabin 5530; Stauffer 159-188.

QIANLONG, EMPEROR OF CHINA (1736-1796). Suite of four engravings depicting the conquests of the Qianlong Emperor. From the suite of sixteen engraved plates. Printed in Paris under the direction of Charles-Nicholas Cochin. Broadsheets, image size: 515 x 890 mm. Preserved in the contemporary French green paper mounts with black ink outline borders. Professionally framed. With the original French printed labels describing the individual engravings affixed to back of frames. [Paris, 1769-1774]. These four contemporary hand-coloured engravings represent individual scenes from the exceedingly rare series of sixteen engravings commissioned by the Qianlong Emperor to commemorate the victory of his 1755-1760 military campaigns against the Western Mongols. The four plates are: I. "General Fou Te Accepts the Surrender of the Ili," showing the triumphal march of the Emperor and his general to Beijing. Drawn by Sichelbart and engraved by B.L. Prévost in 1769 (Pirazzoli-t'Serstevens 1); II. "The victory of Khorgos." in the Spring of 1758 against the forces of Amoursana. Drawn by J. D Attiret, cut by C. N. Cochin and engraved by J. Ph. Le Bas in 1774. (Pirazzoli-t'Serstevens 4); III. "The great victory of the Qurman." on February 3, 1759 when the Chinese general Fou-te with only 600 soldiers defeated an army of 5000 Muslims. Drawn by Damasceno and engraved by A. de St. Aubin in 1770. (Pirazzoli-t'Serstevens 8). IV. "The Emperor Gives a Victory Banquet to the Officers and Soldiers who have distinguished themselves in battle," at Tseu-kuang-ko, the Imperial Palace Gardens, Beijing on July 5, 1754. Drawn by Castiglione and engraved by J. Ph. le Bas, 1770 (Pirazzoli-t'Serstevens 16). These large Chinese-French prints are among the most impressive works ever produced by the method of copper engraving. This is the first series of engraved plates to document the conquests of the Qianlong Emperor. They represented an amalgam of Chinese imagery, Italian interpretation, and Parisian copperplate engraving at its apogee. The drawings were supplied by Jesuit artists attached to the Emperor's court in Beijing. Upon completion they were shipped to France for engraving, as the craft was unknown in China. After the Emperor was shown battle prints by the Augsburg artist Georg Philipp Rugendas (1666-1743) he wished to see his military conquests recorded in intaglio prints as well. He therefore ordered his Jesuit court painters Giuseppe Castiglione (1688-1766, called "Lang Shining"), Jean Denis Attiret (1702-1768, "Wang Zhicheng"), Ignaz Sichelbart (1708-1780, "Ai Qimeng") and Giovanni Damasceno Sallusti (i.e. Joannes Damascenus a SS. Concepcione, d. 1781, later bishop of Beijing, called "An Deyi") to prepare sketches for the prints, which they did in 1764 and 1765. Four of the drawings had been completed by the time of Castiglione's death, when the decision was made to send the work to France via the ships of the Compagnie des Indes. According to the Emperor's decree, no expense was to be spared. The first four drawings reached Paris in the autumn of 1766, and the remaining twelve in July 1767. The Marquis de Marigny, director of the Academie Royale de Peinture et Sculpture decreed that the work should be carried out under the supervision of Charles-Nicholas Cochin 'fils' (1715-1790). As the French paper manufacturers did not have paper of the desired proportions, the paper-merchant Prudhomme was ordered to make it to custom; the new size was called Grand Louvois. The copperplates were imported from England. Cochin chose Beauvais for the actual printing of the sheets, on the grounds that he was "the only one who can be completely trusted, both regarding his talents as well as his honesty which is well-known." The work proceeded slowly; standards of the highest quality were called for, and some of the pictures, especially the one by Sallusti, needed careful editing. The original order was for 100 copies of each print, but by 1768 this figure was increased to 200 copies so that at least 100 would survive the journey back to China (!) -- however, several authorities claim that many copies were lost at sea. In any event, the final delivery was not shipped until 1775, occasioned in part by the difficulty the printers had producing a uniform series of prints from drawings by different artists. Three of the initial drawings were made by Attiret, six by Damasceno, one by Sichelbart, and at least two by Castiglione; the remaining are unsigned but have been attributed to Castiglione by C. & M. Beurdeley and others. The engravers were L.J. Masquelier (1), J. Aliamet (2), J. Ph. Le Bas (5), A. St.-Aubin (2), F.D. Née (1), B.L. Prevost (2), P.P. Choffard (2), and N. de Launay (1). The Emperor's instructions stated that all the impressions were to be sent to him, along with the original copper plates. However, there is plentiful evidence that prints were pulled for the King of France and influential persons in Paris as well. Most of the surviving sets and individual prints appear to belong to this surreptitious group. The above series is not only a landmark in the history of Chinese and European art, but also testifies to the direct artistic cooperation between China and Europe in the eighteenth century. It has been a common misconception that China was only interested in itself and detested the foreigners -- here the Emperor himself proved the contrary. VERY RARE IMPRESSIONS WITH CONTEMPORARY FRENCH HAND-COLOURING. The complete set of sixteen black and white engravings (or a few individual prints from this set) have come onto the market for sale only rarely. We can locate no other examples of any of the prints with contemporary colouring having been for sale or in public or private collections. PROVENANCE: Robert Barnwell Roosevelt (1829-1906) the uncle of Theodore Roosevelt and great-uncle of Eleanor Roosevelt. He was an early conservationist and worked for the protection of waterways. Roosevelt served in Congress and was later appo.

16 leaves, large folio (20 6/8 x 12 6/8 inches). 15 hand-colored engraved plates by and after Ehret, plate 15 with a facing page of text, "The history and analysis of the parts of the Jessamne, which flowered in the curious garden of R. Warner, Esq; at Woodford, July 1758", an uncolored engraved vignette of the Rondeletia by Ehret at the foot of this page, all plates but two on laid paper bearing the watermark of STRASBOURG LILY with "G" and maker's countermark I. TAYLOR, plate 4 on unwatermarked heavy wove paper, the letterpress on laid paper marked IV (plates 1, 10 and 11 with small repaired tears in lower margins, a few minor nicks at edges and plate 12 with a creased margin, some showthrough and a little paper discoloration throughout). Disbound and loose in modern red quarter morocco clamshell box. Provenance: The bookplate of Harry Wearne (1852-1929); memorial gift bookplate The Art-in-Trades Club. First edition. The "Plantae et papiliones rariores" has no title-page or text other than a caption title at the top of the first plate, and engraved Latin descriptions of the plants. (English text appears in trompe l'oeil on plate 8). The letterpress leaf accompanying the Jasminum plate 15 appears to have been published independently of the engravings. The work was published in parts by subscription, subscribers including Sir Hans Sloane and the Duchess of Portland; Ehret dedicated plate 14 to the latter, who had the Ginger plant cultivated in her greenhouse in September 1754 (Calman). During his years in Regensburg Ehret's drawings came to the attention of the physician and botanist Christoph Jakob Trew (1695-1769), who asked him "to paint for him as many plants as he could on large fine paper" (Henrey, p. 63). Trew had planned to publish a book of engravings based on his own collection of Ehret's drawings the project was delayed and Ehret, growing impatient, decided to publish his own book of engravings, containing "newly introduced species which had rarely if ever been previously represented" (Calman). Ehret's "approach was a fine compromise between that of the artist and that of the scientist: he did not slavishly imitate what he saw nor did he allow his feeling for color and design to distract him unduly from the fundamentals of plant structure. Artists and botanists alike, therefore, join in praising his work. he has. his own particular qualities-- a sureness of touch, vigor of handling, and an unerring instinct for design" (Blunt & Stearn, p. 163). Trew remained a patron and friend of Ehret for the rest of his life, and they eventually collaborated on Trew's magnum opus "Plantae selectee" (1750-1773), which confirmed Ehret's reputation as a master of botanical illustration. EXTREMELY RARE: not in the Plesch or de Belder collections. The Massachusetts Horticultural Society copy (sold, Sotheby's New York, 1 October 1980, lot 116) and the present copy are the only two copies recorded by ABPC since 1965. Only two copies are recorded in American institutions: Arnold Arboretum, Harvard University, and the Library of the United States Department of Agriculture, Washington D.C. Blunt & Stearn, pp. 164-166; Calman, Georg Ehret, "Flower Painter Extraordinary", 93-94; Dunthorne 109; "Great Flower Books", p. 93; Henrey 150; Nissen BBI 583; Pritzel 2641; Stafleu & Cowan (recording the publication in 1761-1762 of three supplementary plates, citing one known copy, at the Arnold Arboretum); TL2 1644. Catalogued by Kate Hunter.

Hardcover. Etat : Fine. FIRST EDITION. An extremely fine copy of the first edition, bound in a fabulous contemporary Baroque binding by an unidentified Roman binder. Binding and contents in excellent condition. Binding with light wear at the hinges, contents extremely fresh with dark, rich impressions of the plates. There is a little damp-staining to the lower corner of the opening leaves (and a few other leaves further on in the book), a few instances of light marginal spotting, a stray smudge or two. There are some clean tears or splits (without loss) at some folds of the massive folding plate. The Binding: Contemporary mottled calf, richly gilt, the boards with elaborate rococo borders, tooled with flowers, scrolling foliage, and ornate shell ornaments. The binding is in excellent condition with very minor wear. For an identical binding, see The Frank H. Kessner Collection of Books on Rome, Christie, Manson & Woods, (4-5 Oct. 1990, Lot 447, p. 206-7). For a set of works by Piranesi, including the Campus Martius, bound in very similar contemporary bindings and given as a gift by the Venetian Pope Clement XIII to the Republic of Venice (and presumably his friend the Doge Marco Foscarini), see "Piranesi. Incisioni, Rami, Legature, Architetture", Alessandro Bettagno, editor (1978), p. 76-77, and (for the images), p. 427 and 428. Contents: pp. [i] blank; [ii-vii] dedication by Piranesi to Robert Adam, in Latin (on versos) and Italian (on rectos); [viii] blank; [i] approbation, dated Rome, 16 June 1761, with two imprimaturs; 2-69 text, in Latin (on versos) and Italian (on rectos), printed within a triple line border; [70] blank; i-xii key to plans of the Campus Martius on plates iii-iv, Latin and Italian in parallel columns; i-xvii index of monuments on the large map of the Campo Marzio (plates V-X), Latin and Italian in parallel columns; [xviii] blank. Ornaments: Etched headpiece on Latin dedication with view of "Sepulchrum Mariae Honorij Imp. Uxoris . . "etched headpiece on Italian dedication with view of "Labrum aegyptiacum porphyreticum . . .," signed "Piranesi F"; etched tailpiece with group of monuments captioned "Nonnulla monumenta sepulcralia . . ."(p. 68), signed "Piranesi F"; etched tailpiece showing a "Stylobata columnae" (p. 69), signed "Piranesi F"; etched initial *A" incorporating quiver, arrows set against a relief of trophies (p. 2); etched initial "D" with decorated belt and trophies (p. 3) Illustrations: Etched, engraved, and drypoint title plate with title incised on cracked stone tablet, surrounded by fragments including broken column bearing dedication to Robert Adam: "Roberto Adam Britanno Architecto Celebérrimo"; added etched title plate with bird's-eye view of reconstructed Campo Marzio with title in Italian: "II Campo Marzio Dell'Antica Roma Opera Di G.B. Piranesi Socio Delia Real Società Degli Antiqvari Di Londra"; and 52 etched, engraved, and drypoint coppers on 48 plates numbered I-XLVIII (plates XII and XLVI each with additional unnumbered plate on the sheet; plate XLVII with two additional unnumbered plates on the sheet; plates II and XXXI folding, both printed from two coppers; plate XXXII double page; remainder full page). Plates V-X are joined together to form the enormous folding map. Plates XV-XIX, XXI, XXVI-XXIX, XXXV, XLII, XLIII with captions printed on separate plates. Most plates with Piranesi's signature ("Piranesi F/'). Plate XXXI, "Scenographia Machinae" is signed by Francesco Fontana as designer and draftsman and by Arnold van Westerhout as engraver ("Aeques Fran.cus Fontana Inuen; et delin."; "Arnoldus Van Westerhout Antuerp.s. Sculpsit"), and must have been prepared before 1725, the year of van Westerhout's death."(Millard Catalogue) "The 'Campo Marzio' was published by Piranesi in 1762 with two frontispieces (in Latin and Italian) and fortyeight plates. The publication borrows from the two main interests of the author, the archaeological research and the polemical battles of the early 1760s. His historical inquiry is here committed to supporting his view of the primacy and genius of Roman builders. This work originated in the 1750s and is dedicated to Robert Adam, who befriended Piranesi during his Grand Tour visit of Rome. Adam witnessed Piranesi' s engraving of the imperial plan of Rome in 1755, eventually stretching over six copperplates. This plan is one of Piranesi's most feverish fantasies, marshaling a huge range of imaginary constructs for the celebration of ancient Rome. Within this plan he proposes an urban and architectural landscape of the utmost complexity. Piranesi achieves this tour de force through a great variety of illustrations and employs every means of representation at his disposal. This project allows him to display his knowledge of cartography in the making of the ichnographic plan of the reconstructed ancient city. He had earlier worked with the cartographer Giovanni Battista Nolli, the author of the plan of contemporary Rome published in 1748. "Nolli's plan was not only accurately surveyed but also pioneered a mode of representation technically known as figure-ground, which allowed the clarity and accuracy of the plan to be appreciated visually. Piranesi also relied on archaeological reconstruction and landscape illustration in the making of the plates in the Campo Marzio series. The plates illustrate the buildings in this part of Rome, stretching into both bends of the Tiber, since Piranesi interprets the Campo Marzio as the valley between the Roman hills, including the area north of the Porta del Popolo, richly endowed with public and military structures. "In this publication, Piranesi refined his method of graphic juxtaposition. The Campo Marzio opens with a great plan of Rome with stone fragments illusionistically "placed" on it; subsequently sheets of details are "pinned" onto larger plans and views. Thus Piranesi uses trompe l' oeil to juxtapose differently scaled drawings. He reconstructs the foundation of the Tiber island as a ship, and he uses part.

Hardcover. Etat : Fine. 1st Edition. Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of several Ships. London: for Benj. Motte, 1726. True first edition: Teerink State A with all the necessary point to distinguish it from later printings [Teerink AA and B]. Part I, p. 35, line 5 has ?Subsidies? correctly spelled; Part III, p. 74 is misprinted ?44;? Part III, G6 is a cancel, with ?Part III? at foot; Part IV, p. 52, line 1 has the misprint ?buth is? instead of "but his". Four parts in two octavo volumes. xvi, 148; [6], 164; [6], 155, [1]; [8], 199, [1] pp. Engraved frontispiece portrait of Gulliver in the called for second state, with the inscription ?Captain Lemuel Gulliver of Redriff. Ætat. suæ LVIII.? around the oval and with the tablet beneath the oval bearing a Latin inscription, four maps and two plans. With numerous woodcut head and tail pieces and initials. Beautiful contemporary binding by Bedford in tan polished calf, rebacked and retaining original spines. Richly gilt and ribbed spines with red and black morocco labels, gilt board edges, marbled end papers, gilt tooled inside borders, all edges gilt. Ribbed leather and marbled paper quarter slipcase titled and ruled in gilt. Each volume with neatly affixed small armorial leather bookplate of Henry William Poor. This appears in the "Catalogue of the library of Henry W. Poor . Masterpieces of . Poor, Henry W. (Henry William), 1844-1915" as book #981, stated as being from the Augustin Daly Collection. In the "Catalogue of the valuable literary and art property gathered . Daly, Augustin, 1838-1899" these same volumes are listed as #3218. Both list the bindings as by Bedford. See the Wikipedia entry for Francis Bedford. A superb Fine copy in binding that show modest wear and rubbing. Neatly repaired tear at top of leaf L1 in Vol. I, Part I (not affecting text).

2 volumes, folio (17 1/4 x 10 1/2 in.; 43.8 x 26.7 cm). 64 engraved maps, plans, and plates (of which 40 folding) including the general map of China by D'Anville handcolored in outline, woodcut and engraved headpieces, woodcut and engraved historiated initials, several text illustrations, and a table of the I Ching; closed tear on I: 4C1 slightly affecting text, on bottom margin of I:4D2, marginal repair to 2:Fff1; light, occasional toning to text. Contemporary half calf over Dutch-combed marbled boards, green morocco lettering pieces; calf rather dry with minor losses to head of spine on vol. 1. Housed in linen folding cases. A FINE, UNCUT COPY IN THE SCARCE PUBLISHER'S BOARDS OF DU HALDE'S MONUMENTAL WORK ON CHINA, no copy in original boards has appeared at auction for more than 50 years. This, the second and most complete edition in English of Du Halde's encylopaedic survey is based on published and unpublished reports of 17 Jesuit missionaries (Du Halde himself never visited China). Nevertheless, it is regarded as "the first definitive European work on the Chinese empire" (Hill), dealing with China's history, monarchies, moral philosophy, culture, arts, medicine, and sciences. First published in French in 1735, the first English edition appeared the following year. The present edition was augmented with maps from Jesuit surveys carried out between 1708 and 1718 for the Emperor Kangxi. They represented an immense improvement on existing knowledge, including any on Mongolia and Tibet, and are considered by Tooley to be "the principal cartographic authority on China during the eighteenth century." The large general map of China incorporates Bowen's corrections of d'Anville's longitudinal markings. Also included is the first separate map of Korea, together with a previously unpublished account of that country by Jean-Baptiste Régis (d. 1738). The work is also notable for an account of Bering's 1725-1728 voyage off eastern Siberia through the eponymous straits. The folding "Map of Capt. Beering's Travels from Tobolskoy to Kamtshatka," which shows the earliest printed portion of Alaska (St. Lawrence Island), is based on the manuscript map which he gave to the King of Poland before it was passed to Du Halde. Other plates depict costume, scenes from court life, and other subjects, which most likely fueled the European vogue for "chinoiserie." A cornerstone for any collection of books on China. Catalogued by Elizabeth Muller, formerly a senior specialist with more than two decades of experience at Sotheby's. (L64F22F) REFERENCES: Cordier, Sinica 50; Cox I, 355; De Backer & Sommervogel IV, 37; Hill 498 (3rd English); Lada-Mocarski 2; Löwendahl 394 ("Bible of European Sinophlia"; Lust, Western Books on China 15; Tooley, Maps and Mapmakers, p. 107 PROVENANCE: Richard Dodge (contemporary inscription on front free endpaper in volume 1) (L64F22F).

Etat : Très bon. Un titre-frontispice, un profil général dépliant (3 feuilles montées) de la galerie, 16 planches dépliantes à double page et numérotées A-B et I à XIV représentant 2 portes et 14 pilastres (partie I) - 13 planches dépliantes à double page représentant plafonds et voûtes (partie II) - 12 planches dépliantes à double page représentant des pilastres (partie III).Toutes ces planches sont gravées par Volpato d'après Raphael, et mises en couleurs.Chef-d'?uvre de l'art ornemental en Occident, la collection des Loges de Raphaël comprend l'étude architecturale de plafonds, voûtes, pilastres, colonnes et portes à la manière d'un décor de l'Antiquité romaine.Pour cela, Raphael s'inspire de sculptures, de marbres précieux, de pierres gravées, de la nature avec ses fleurs, ses animaux. de peinture, dont les «grotesques», ces peintures retrouvées sous terre, dans la la Domus Aurea de Néron. pour le côté décoratif, sans pour autant oublier le côté religieux puisque les voûtes sont décorées d'épisodes de l'Ancien et du Nouveau Testament.Dès leur achèvement en 1519, les Loges suscitèrent un enthousiasme unanime.En 1772, les excellents graveurs Giovanni Volpato (1733-1803) et Giovanni Ottaviani (1735-1808)reçurent du Pape Clément XIII, le privilège de graver les planches représentant la série de peintures des Loges de Raphael au Vatican. // ENGLISH // A title-frontispiece, a general folding profile (3 sheets mounted) of the gallery, 16 double-page folding plates numbered A-B and I to XIV representing 2 doors and 14 pilasters (part I) - 13 double-page folding plates representing ceilings and vaults (part II) - 12 double-page folding plates representing pilasters (part III)All these plates are engraved by Volpato after Raphael, and coloured.A masterpiece of Western ornamental art, Raphael's Loges collection includes an architectural study of ceilings, vaults, pilasters, columns and doors in the manner of Roman Antique decoration.For this, Raphael was inspired by sculptures, precious marbles, engraved stones, nature with its flowers and animals, and paintings, including the "grotesques", the paintings found underground in Nero's Domus Aurea, for the decorative aspect, without forgetting the religious aspect, since the vaults are decorated with episodes from the Old and New Testaments.From the moment of their completion in 1519, the Loges aroused unanimous enthusiasm.In 1772, the excellent engravers Giovanni Volpato (1733-1803) and Giovanni Ottaviani (1735-1808) received from Pope Clement XIII the privilege of engraving the plates representing the series of paintings of Raphael's Loges in the Vatican.

A triumph of Venetian rococo book design In-plano (730 x 520 mm), engraved title-page printed in black, indigo, bistre and sanguine inks, engraved frontispiece and 8 engraved plates on 11 sheets numbered "Tav I-XI" by Antonio Visentini, engraved portrait by Giovanni Magnini, 9 ornamental rococo borders on title and text leaves also by Magnini, 3 engraved lettrines including one printed in sanguine ink, 13 engraved head-and tail-pieces including one printed in blue ink, in contemporary half calf, gray paper boards, edges sprinkled red, worn with some losses to the extremities with early repairs, one plate loose, some short marginal tears and repairs, not affecting plates or text. 1 *(1) a(1) A-2C(1) [chi](1) 2D-2H(1), pp. [2] [i-iv] 1-64. "One of the most elegant books to be printed in 18th-century Venice." Antonio Zatta's (fl. 1757-1797) monumental and elaborately ornamented description of Saint Mark's Basilica in Venice, here in its most desirable state with the dedication to Marco Foscarini and the title-page printed in four colours à la poupée, details the iconic basilica's history, architecture, collections and clergy. It also contains a masterful series of engravings by Antionio Visentini (1688-1782) showing perspectival views and architectural plans of the basilica. The publication is a masterpiece of rococo book design, evidenced by its impressive size, its use of 9 different fanciful engraved borders adorning each page of the text, its variety of different typefaces, and its experimentations with colour printing. Antonio Zatta was an Italian printer, publisher and cartographer active in Venice from 1757 to 1797. Specialized in luxury productions of the highest order, Zatta enjoyed a long career publishing both informative and beautifully engraved books, such as his celebrated 4-volume world atlas, the Atlante Novissimo. His study of Saint Mark's Basilica was an early yet ambitious production for the printer. Zatta had come into possession of Antonio Visentini's copperplates of engraved views and architectural plans of San Marco. The plates were first published in 1726 by P. Vincenzo in Iconografia della Ducal Basilica. They helped establish Visentini as a master of perspectival and architectural draftsmanship. Visentini went on to enjoy a long and successful career as one of the premier engravers in Venice, patronized by Joseph Smith who commissioned him to produce a suite of engravings after Canaletto's paintings in the English Consul's collection. The plates in this book are in the second state, since Zatta has erased Visentiti's signature and replaced it with his own, "Presso A. Z." The contents are as follows: a history of the basilica's foundation, a description of the exterior, followed by one of the interior, each of its chapels and the sacristy (with a catalogue of each space's inscriptions and contents, oftentimes paintings), a description of the church's treasury and its contents (consisting of relics), and finally by a description of churches clergy, divided into two sections on the deacons and the canons. Provenance 1. Belton House, armorial bookplate on pastedown. 2. Librarie Pierre Berès, Sold 12/18/07 by Pierre Berger Associés, Fonds de la Librarie Pierre Berès, 4ème partie, lot 422. 3. Private collection. Berlin Katalog, 2708; Cicognara, 3994; Cicogna, 4613; Martineau, Jane, [and] Robison, Andrew; The Glory of Venice: Art in the Eighteenth Century. Royal Academy of Arts, London, 1994.

Couverture rigide. Etat : Très bon. Exceedingly rare first edition of this suite dedicated to games and entertainments in Tuscany in the 18th century. It is composed of a frontispiece and 24 prints engraved and contemporary watercoloured by Giuseppe Piattoli entitled: La Berlina, Il Beccalaglio, La Pentolaccia, L?Altalena, Il Pallone, Le Pallottole, Il Guancialin d?oro, Bicci calla calla, Capo a nascondersi, Il Saccomazzone, La Trottola, Il Cappelletto, Madonna Fuscellina, Il Ceppo, Il Ballo, Le Befane, Le Chiavi, Il Berlingaccio, Le Rificolone, I Birilli, Trucco a terra, La Civetta, L?Infilalago and La Lotta. The artist and engraver Giuseppe Piattoli (1750-1815) taught the art of drawing at the Academy of Florence from 1785 to 1807. It is extremely rare to find this suite complete. It is of the utmost interest both for the history of games and entertainments and for the history of costumes or interior design. The artist paid particular attention to represent every game scene with great realism, depicting in details the set of furniture of the Tuscan interiors and the architecture of the premises. According to our researches, among all the public libraries, only the Library of Congress would own a copy of this work. A precious and exceedingly rare suite illustrating the entertainments in Tuscany in the 18th century, entirely contemporary watercoloured in vivid and shimmering shades.

2 vol. Text folio (44 x 29 cm), atlas broadsheet (65 x 50 cm). Text: engraved frontispiece by Ingouf l'aîné, title page with engraved vignette by Macret, dedication with engraved head-piece by Bruneau, each part with 3 engraved vignettes (including 2 by Louis-Nicolas Van Blarenberghe), 2 engraved tail-pieces, one engraving by Van Blarenberghe at end, and 11 plates; frontispiece and title with foxing. Atlas with 32 double-page plates, including 3 folding, most after Van Blarenberghe (1 and 24 not signed, 21 by Dupuis); a few marginal closed tears. Contemporary full red morocco gilt, spines with raised bands, atlas with gilt arms to covers, gilt edges. Scarce and impressive work on cavalry: beautiful red morocco copy of the Prince de Condé, a great grandson of King Louis XIV and a great military general. Dedicated to Louis XVI, the 32 superb and very large plates represent different aspects of the instruction of an individual horseman and of dressage, as well as cavalry formations and tactical manoeuvres. Each horseman and each horse is drawn individually and shown against a countryside backdrop. Most of the plates have a descriptive cartouche in addition to the explanations in the text volume. The author, of Scottish origin, was a Lieutenant-General of Cavalry who saw active service in Germany, Italy and Flanders between 1735 and 1762. Mennessier I-408; Brunet II-842; Nathalie Lemoine-Bouchard, L.-N. van Blarenberghe et le Traité sur la cavalerie de Drummond de Melfort, Histoire de l'art, 1999, page 57-69; not in Mellon. Cf. OHR 2365-7 for the arms.

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.

Zeitgenössische Mappe mit marmoriertem Papier überzogen und handschriftlichem Titelschild Kupferstecher und Insectenmaler Müller in Hanau". Blatt-Maße je ca. 32 x 22 cm; die Aquarelle von ca. 0,5 x 1 cm bis 13 x 11 cm. - Mappe etwa berieben; Tafeln sehr gut erhalten. Bei der vorliegenden Sammlung von Aquarellen handelt es sich wohl um das Hauptwerk des Hanauer Malers und Kupferstechers Johann Jacob Müller. Ein Großteil von ihnen sind Vorzeichnungen für die Tafeln in Johann Andreas Benignus Bergsträßer s Werk: Nomenclatur und Beschreibung der Insecten in der Grafschaft Hanau-Münzenberg." (Hanau, 1778-1780) sowie der Mehrzahl der Tafeln seiner Icones papilionum diurnorum quotquot adhuc in Europa occurrunt descriptae" (Hannover, 1779-1781). Bei letzterem stimmen sogar die jeweiligen Nummerierungen der einzelnen Exponate auf den Tafeln überein. Des weiteren enthält die Handschrift auch Zeichnungen zu J.L. Christ s Hymenoptera (Frankfurt, 1791). Die Sammlung beinhaltet zudem Zeichnungen, die nicht bei Bergsträßer und Christ abgebildet und beschrieben sind. Bergsträßers Nomenclatur" ist eines der seltensten Werke über die Insekten der Wetterau, vollständige Exemplare sind nahezu unauffindbar. Seine Icones" sind ebenfalls äusserst selten. Auch die Hymenoptera von Christ, welches die erste Monographie zu dieser Insektengrupper überhaupt darstellt, ist heute äusserst selten. Vorliegende Handschrift beinhaltet die originalen Vorzeichnungen zu mindestens drei überaus seltenen antiquarischen Büchern über Insekten und Schmetterlinge und ist somit nicht nur von antiquarischem und künstlerischem Wert, sondern auch von hohem naturwissenschaftlichem Interesse. Müller war zu seiner Zeit bekannt für seine detailgetreuen und minutiös ausgeführten Darstellungen von Insekten. Die Ausführung der vorliegenden Zeichnungen ist durchweg auf höchstem künstlerischem Niveau. Alle Abbildungen sind, wie bei Bergsträßer, mit kleinen Nummern versehen. Der dazugehörige Text ist jedoch nicht mehr vorhanden. Bei den in Bergsträßer's Nomenclatur gedruckten Abbildungen stimmen die Anordnung und Nummerierung nicht mit den vorliegenden Tafeln überein. Oft sind zwar dieselben Spezies einer Tafel auch bei Bergsträßer's Nomenclatur auf einer Tafel wiedergegeben, aber in einer anderen Anordnung und mit anderer Nummerierung, meistens auch spiegelverkehrt. Bei den Tafeln zu den "Icones" stimmen sowohl Anzahl als auch Art der Spezies der jeweiligen Tafeln mit den Tafeln vorliegender Handschrift überein, nur sind die Zeichnungen stets spiegelverkehrt zum Druck. -- Die Mehrzahl der Tafeln sind zu 4 Blatt zusammengeheftet (mit je 2-3 Aquarell-Tafeln). Offenbar wurden einige dieser Lagen auseinandergeschnitten und einzelne Tafeln der Sammlung entnommen, da 22 Tafeln als lose Einzelblätter beiliegen. Die Sammlung beinhaltet insgesamt 494 Zeichnungen von Schmetterlingen und deren Raupen sowie 101 Zeichnungen von anderen Insekten wie Wespen, Bienen, Hummeln und Käfer. Johann Jakob Müller war Maler und Kupferstecher in Hanau. Er wurde 1743 geboren und erlernte zunächst bei seinem Vater das Kupferschmiedehandwerk. Später schuf er geographische Karten und Ansichten von Hanau und der Wetterau. Sein Hauptinteresse galt jedoch dem Studium der Natur. So veröffentlichte er mehrere Abhandlungen über Botanik und Pflanzenkunde wie z.B. Anweisung zu dem einträglichen Anbau der Erdmandel." Frankfurt, 1800. (2. Umgearb. Auflage das. 1802) und Von dem Anbau und Nutzen der syrischen Asklepie, Schwalbenwurz, oder Seidenpflanze Asclepias Syriaca, Linn." Frankfurt, 1802. Er schuf die Mehrzahl der Kupfertafeln in Bergsträßers Nomenclatur und Beschreibung der Insecten in der Grafschaft Hanau-Münzenberg wie auch der Wetterau und der angränzenden Nachbarschaft dies- und jenseits des Mains". Im Jahre 1781 kündigten Bergsträßer und Müller in den Gothaischen Gelehrten Zeitungen (49. Stück) ein Werk mit dem Titel Ergänzungen des Roeselschen Insectenwercks" an, welche in jährlich 2-3 Heften mit je 6 Tafeln erscheinen sollten. Bergsträßer sollte für den Text und Müller für die Tafeln verantwortlich sein. Von dem Werk erschien aber nur die erste Lieferung mit 6 Tafeln. Naturwissenschaftliche Vorlagenzeichnungen des 18. Jahrhunderts sind sehr selten. Bei den vorliegenden Zeichnungen dürfte es sich zudem um eine in sich geschlossene Sammlung über die Insekten der Wetterau handeln, deren Wert dadurch auch von großem wissenschaftlichem Intersse ist. Ein Museumsstück. Literatur: Johann Georg Meusel Teutsches Künstlerlexikon. Lemgo, 1809. Bd. 2; S. 73/74; Thieme-Becker Bd. 25, S. 237; G.B. Schmiedlein Vollständiger Lehrbegriff der Entomologie. Band 1. Leipzig, 1795. S. 28; Johann Andreas Benignus Bergsträßer Nomenclatur und Beschreibung der Insecten in der Grafschaft Hanau-Münzenberg. Hanau, 1778-1780; Johann Ludwig Christ Naturgeschichte, Klassification und Nomenclatur der Insekten vom Bienen-, Wespen- und Ameisengeschlecht. Als der fünften Klasse fünfte Ordnung des Linneischen Natursystems von den Insekten : Hymenoptera ; mit häutigen Flügeln. Frankfurt, Hermann, 1791; Johann Andreas Benignus Bergsträsser Icones papilionum diurnorum quotquot adhuc in Europa occurrunt descriptae. 3 Teile. Hannover, 1779-1781. ______________________________________________________________________________ Collection of 595 watercolor drawings of butterflies and other insects of the Wetterau area in Germany. Contemporary portfolio covered with marbled paper and handwritten title plate Kupferstecher und Insektenmaler Müller aus Hanau". Sheet dimensions approx. 32 x 22 cm each; the watercolors from approx. 0.5 x 1 cm to 13 x 11 cm. folder slightly rubbed; Very well preserved plates and drawings. The present collection of watercolors is probably the main work of the Hanau painter and engraver Johann Jacob Müller. The majority of them are sketches for the plates in Johann Andreas Benignus Bergsträßer s work: Nomenclatur und Beschreibung der Insecten in der Grafschaft Hanau-Mü.

Couverture rigide. Etat : Très bon. Paris, chez Huguier, vers 1735. Plein veau havane marbré, dos à nerfs richement orné, pièces de titre en maroquin rouge, tranches jaspées. Reliure de l'époque.318 x 238 mm. --- 12 planches in-4 gravées par Le Bas et Ravenet d'après les dessins de Boucher. 1. Gaigne Petit ? 2. A Racomoder les vieux souflets ? 3. Des noisettes au litron ? 4. Balais Balais ? 5. Charbon Charbon ? 6. A. Ramonner du Haut en bas ? 7. A la crème ? 8. Des patez ? 9. Chaudronier chaudronier ? 10. Des radix des raves ? 11. La Laittiere ? 12. Au vinaigre.Ce recueil est du plus haut intérêt pour la connaissance des métiers et des costumes sous Louis XV. Certaines des gravures sont de véritables estampes de mode.« Le père de Boucher, dessinateur de broderies, fut le premier maître de l'enfant. Mais devant les dispositions dont il témoignait, il se décida à le faire travailler sous une direction plus autorisée que la sienne. François Boucher entra dans l'atelier de Le Moine, dont il imita bientôt la manière, dans Le jugement de Suzanne.Il n'y resta que fort peu de temps, quelques mois à peine, puis vint travailler chez le père du graveur L. Cars, lequel était éditeur. Mariette nous dit à ce sujet que Boucher y dessinait pour les planches de Cars et qu'il recevait pour ce travail 60 livres par mois, non compris le logement et la table. Ce fut ainsi qu'en 1721 il fit les illustrations de l'Histoire de France de Daniel, gravées par Baquoy. Entre temps, il avait commencé à s'adonner à l'art de la gravure et ses premiers essais décidèrent M. de Julienne à lui confier le soin de graver les dessins de Watteau. Le jeune artiste, encore très épris de son art, travaille à la fois le dessin, la gravure et la peinture. Les 24 livres par jour que M. de Julienne lui donnait pour prix de son travail lui faisaient la vie assez facile, mais Boucher voulait entrer à l'Académie et s'efforçait de perfectionner sa technique. En 1723, il emporta le p /// Paris, chez Huguier, circa 1735. Full marbled light brown calf, spine ribbed and richly decorated, red morocco lettering pieces, sprinkled edges. Contemporary binding.318 x 238 mm. --- 12 plates 4to engraved by Le Bas and Ravenet after the drawings of Boucher. 1. Gaigne Petit ? 2. A Racomoder les vieux souflets ? 3. Des noisettes au litron ? 4. Balais Balais ? 5. Charbon Charbon ? 6. A. Ramonner du Haut en bas ? 7. A la crème ? 8. Des patez ? 9. Chaudronier chaudronier ? 10. Des radix des raves ? 11. La Laittiere ? 12. Au vinaigre.This collection is of the utmost interest for the knowledge of professions and costumes under Louis XV's reign. Some of the engravings are true fashion prints.- [Bound with]: Londerseel, Assuerus van. (Antwerp 1572 - Rotterdam 1635).Probably pupil of Peter van des Borcht. We particularly owe him woodcuts in the taste of Virgil Solis for biblical figures. We also owe him engravings of ornaments for jewelers, as well as this remarkable suite of masks and dancers composed of 9 full-page engravings, unrecorded to this day.- [Followed with]: Actions glorieuses de S. A. S. Charles Duc de Lorraine, 13 plates.- [Then]: Médailles du Règne de Louis XV (par Godonnesche ou Fleurimont), 56 plates.- [And] : Recueil de différentes Charges dessigné à Rome par Carloo Vanloo, Peintre du Roy, c. 1737. 12 plates. 3 pl. with foxing.First issue of this superb suite of 12 full-length portraits of men from foreign nations, engraved by Le Bas and Ravenet after Van Loo.- 30 plates of various subjects and portraits of the Marquise du Châtelet and of Voltaire, engraved by Fessard, J. P. Le Bas, Frère, Surugue, Aveline, after Jeaurat, Boucher, Wouvermans, Téniers, Watteau, etc.- [Finally]: Bouchardon. Études prises dans le bas peuple, ou les cris de Paris, 1737-1746.4to. 60 plates.This rare collection is composed of 5 series of 12 plates each, depicting the types of the different merchants and ambulant workers of Paris. These pl.

Hardcover. Etat : Near fine. First. AN EXCEPTIONALLY VIBRANTLY-COLORED COPY IN A FINE CONTEMPORARY BINDING First French editions (see below). Six volumes. Quarto (9 7/8" x 7 7/8", 250mm x 199mm). Collated complete (including the c2 blank of part 6) with 190 engraved colored plates. [Full collation available.] Bound in contemporary cat's-paw calf, with a double gilt-fillet border to the boards. On the spines, five raised bands with a gilt roll. Panels gilt. Title gilt to black in the second panel, number gilt to black in the third panel. Edges of the boards gilt, continuing to the inside dentelle gilt. Blue, yellow and red end-papers. All edges of the text-block gilt. Green silk marking ribbons. An exceptionally sharp set, complete with 6 engraved colored titles and 190 engraved colored plates. With some superficial chipping and flaking to the extremities, and some wear to the fore-corners. Headpiece of vol. VI perished, but otherwise beautifully intact with headbands. Title-page of vol. I has been altered (see below). A few instances of foxing, but always quite minor. Some of the pigments on the plates have tanned through to the back. A brilliantly bright suite of plates.The greatest eighteenth-century work of conchology, Knorr's Delices (a German edition, Vergnügen der Augen und des Gemüths, began publication in 1757) gathers together the specimens of the Wunderkammern of Nuremberg, Amsterdam and beyond. The descriptions - there was a contemporaneous Latin edition, and a later Dutch edition - are unusually descriptive and readable, and not, as so often, truncated and terse. Still, nothing lacks in precision; vol. VI includes a concordance to Rumpf, who came to supplant Linnæus as the authority on mollusks. Knorr died in 1761, and so the introduction to each part but the first is signed by his heirs. Perhaps this is the reason that the title-page is sometimes found bearing the year 1760 and sometimes 1764; his death may well have delayed publication of the first volume. The present copy bears the 1760 date (as observation of the reverse of the title-page of vol. I easily shows), but a small disc of paper has been pasted over the 0, altering it to a 4. The glory of this copy is the unusual vibrancy of its plates' coloring. The colorist has has gone to the very extremes of her palette, supplying the warmest orange-reds and the subtlest variations of blue. This is particularly important as the effect of the final ten plates of vol. VI depend so wholly on the precision of the colorist: they depict brilliant white shells against a deep matte black background, which has been carefully made to surround even the fine asterisks denoting the volume number beside the plate number. In addition to the coloration itself is the deployment of metallic hues in the titles as well as on certain plates, and a more widespread use of gum arabic both to emphasize the surface texture as well as the depth of color in some places. A true triumph of the colorist's art. Zissen ZBI, 2235.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman","serif"; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-fareast-language:EN-US;} First 8vo edition and second edition (after the original from Naples, 1766) illustrated with 366 plates out of pagination: 5 titles-frontispieces and 361 numbered subjects on 60 plates, almost all enhanced with sepia watercolors representing vases, sculptures, paintings, statues , reproduces from the collections of William Hamilton, British Ambassador to Italy. The subjects 28-29 of the first volume are printed on the same leaf, plate 1 of the volume 3 is enhanced with 4 colors, the tables indicate a total of 357 subjects from which we have to add 4, not mentioned). The arms of the dedicatee, Count of Néale, were also enhanced with colors. Those two first editions magnified the Greek and Roman antiquities, and exercised the greatest influence in the development of the neo-classic movement in France and England. Cohen de Ricci 474, Blackmer 345, Berlin Katalog 890. Ambassador of England in Naples from 1764, Sir William Hamilton took an active part in the research carried out in the ruins of Herculaneum and Pompeii. He was keen to bring together artistic riches from Antiquity and acquired an extraordinary collection of antique vases from the Porcinari house, which he then offered to the British Museum. Most of his works of art were lost in 1800 in a shipwreck on his return to England. During his stay in Naples, Sir Hamilton asked Pierre-François-Hugues known as Hancarville, which he appreciated the erudition and the artistic talent, to make a magnificent publication to allow the scholar and art lover public to admire the beauty of the collections combined. Prestigious provenance: Tsar Paul I of Russia (born in 1754, tsar in 1796, assassinated in 1801), son of Catherine the Great (supra libros, except volume 5 which has no arms: central coat of arms of the Romanow, on the left the coat of arms of his second wife Sophie Feodorowna von Wurtemberg, 1759 1828, on the right the coat of arms of his father Count Karl Friedrich von Holstein-Gottorp, 1700 1739).

ZURLAUBEN, Beat Fidel (1720 - 1799) - LABORDE, Jean-Benjamin de (1734 - 1794).Tableaux De La Suisse, Ou Voyage Pittoresque Fait Dans Les Treize Cantons Et Etats Allies Du Corps Helvetique : Représentant les divers Phénomenes que la nature y rassemble, & les beautés dont l'art les enrichis; suivis de la description topographique, physique, historique, morale, politique & littéraire de ce Pays Par M. le Baron De ZurLauben. Ouvrage exécute aux faix & par les soins de M. De Laborde, orné de 430 Estampes, sous 278 numéros, dessinées par MM. Pérignon, Le Barbier, &c. & gravées par MM. Née & Masquelier, &c. Paris: Chez Lamy, Libraire, Quai des Augustins. Avec Approbation, Ez Privilege Du Roi, 1786 2 volumes in 3. Folio (19 x 12 inches). Volume One: half-title with 2 vignette portraits on verso, engraved allegorical frontispiece, additional engraved title-page, engraved vignette head-piece; double-page engraved general map of Switzerland, and 144 engraved plates on 98 leaves; volume II: 4 double-page and folding engraved maps, 128 engraved plates on 91 leaves; volume III: 2 magnificent double-page and folding engraved views of Lucerne, one double-page folding engraved map, 138 engraved plates on 51 leaves, including 11 leaves of engraved vignette portraits, across the three volumes variously numbered 1 - 278, or unnumbered, with the engravings that appear on the same page being given the same number on 79 leaves, and 3 additional duplicated plates, some plates laid down (page 499-500 with closed marginal tear with early repair). Near contemporary rose diced russia (covers detached or nearly so, extremities worn and generally unevenly faded to tan). Provenance: From the library of Archibald Philip Primrose, fifth earl of Rosebery and first earl of Midlothian (1847 1929), prime minister and author, his sale Sotheby's, May 25, 1995, lot 380 First published in parts, from 1777. At the Treaty of Westphalia in 1648, Switzerland achieved a modicum of independence from the Holy Roman Empire, compounding the neutrality from many of the conflicts of Europe that it had established during the Thirty Years War. The Ancienne Regime in Switzerland, as it became known post Napoleon, was a loose confederation of cantons, that many during the Enlightenment of 18th-century sought to consolidate into a nation. All that was considered great about Switzerland is show-cased in Zurlauben and Laborde's book, which is profusely and superbly illustrated with numerous detailed maps, splendid views, and portraits of important writers, scientists and leaders. Interestingly the book is published in French, rather than German is evidence of the increasing influence of French refugees who came to Switzerland after the Revocation of the Edict of Nantes in 1685. The second half of the 18th century was when some of the best known writers of the era established themselves in what would become French Switzerland. In 1754 the famed philosopher Rousseau came back for good to Geneva, and Voltaire established himself at Ferney, while in 1753 the historian Edward Gibbon moved to Lausanne. Zürich at the time was home to a number of internationally known scholars, such as Johann Jakob Bodmer, Salomon Gessner, Johann Heinrich Pestalozzi and Johann Caspar Lavater, styling itself as "Republic". In April of 1798 representatives of the separate cantons of the confederation met in Aarau. They proclaimed the Helvetic Republic and confirmed its new constitution, similar to the constitution of the French Republic, with a parliament (two chambers), a government (called board of directors) and a Supreme Court of Justice. The federalist tradition of Switzerland was ultimately eliminated. From the distinguished library of Lord Rosebery, who was British prime minister for just over one tumultous and unsuccessful year, from March 3, 1894, to June 21, 1895. He was faced with a divided Cabinet and a hostile House of Lords, and therefore his ministry achieved little of consequence. ".

4 volumes, folio. (17 x 11 inches). Titles printed in red and black with engraved vignettes by M. Baquoy after A. Humblot, half-titles. 65 engraved maps and plates (including 1 page of engraved sheet music) by Delahaye, Desbrulins, and Fonbonne after d'Anvillee, Humblot, Lucas, Le Parmentier and others, 4 engraved head-pieces after Humblot, occasional engraved initials. Moderate age toning. Contemporary French mottled calf, spines with raised bands in seven compartments, red and block morocco lettering pieces in the second and third compartments, the others with an overall repeat decoration in gilt, marbled endpapers (repairs at joints and head and tail of spines). The first edition of Du Halde's celebrated and comprehensive history of China and the most important cartographic record of the region from the eighteenth century. The work is further noted as a cornerstone of northwest Americana, as it contains the earliest printed record of Bering's first expedition with the earliest map of any portion of present-day Alaska. In 1685, seeking to capitalize on failing relations between China and the Portuguese (i.e. papal) missionaries over the rites controversy, Louis XIV sent six French Jesuits to China as scientific emissaries. These early French missionaries would launch incredible interest in France for all things related to China. In 1735, Jesuit priest and historian Jean Baptiste Du Halde was given the monumental task of collating and editing the published and manuscript accounts of Jesuit travellers in China into a single work. Du Halde prominently cites the names of twenty-seven missionaries who served as his primary sources, including Martini, Verbiest, Bouvet, Gerbillon and others. The range of the work is impressive. Not only does Du Halde cover the geography, history, culture and religion of China proper, but geographically he extends the coverage of the work to include neighboring countries. The important maps within Du Halde's work are by Royal geographer Jean Baptiste Bourguignon d'Anville (1697-1782). Based on surveys conducted by French Jesuits at the behest of the Emperor Kang Hsiand, the work constitutes the first scientific mapping of China and forms the most important cartographic record of the region from the eighteenth century. The work also contains the first separate printed map of Korea and the first detailed survey of Tibet. The first volume of Du Halde's history comprises a general description of China, describing each province as well as each historical dynasty; the second volume encompasses government, law, commerce, art, literature, etc.; the third volume treats religion and science; the final volume expands the work to include neighboring regions (Mongolia, Tibet, Korea, etc,) and with accounts of late 17th century expeditions. Within the final volume (pp.452-458), although not listed in the Contents, appears "Relation succinte du voyage du capitaine Beering dans la Sibérie" -- the first published account of Bering's first expedition through the straits that now bear his name. The text is accompanied by an attractive map, titled "Carte des pays traversees par le Capne. Beering depuis la ville de Tobolsk jusqu' Kamtschatka," considered the first printed map of any portion of present-day Alaska (i.e. St. Lawrence Island). Lada-Mocarski writes: "The first French folio edition of 1735 is the most desirable and significant. Its importance lies in the Relation succinct . which is, in abbreviated form, Bering's report of his first expedition. It had not been published previously and the history of its getting into Du Halde's hands is interesting. On Bering's return to St. Petersburg in March 1730 he brought with him a brief report accompanied by a map. This map (and presumably the report) was sent to the King of Poland as a suitable present. The Polish King, in turn, gave the documents to the Jesuit Du Halde with permission to use them as he saw fit. Thus, the first printed report of Bering's 1725-28 expedition burst upon the world in the French work herein described. It was not until much later that a more complete narrative of this historical event was published in Russia." De Backer & Sommervogel IV:35; Brunet II:870; Cordier I:45-8; Cox I:355; Lust 12; Lada-Mocarski 2; Wickersham 6099; Löwendahl 394.

Couverture rigide. Etat : Satisfaisant. Edition originale. 33 volumes in-folio (40,3x27,3cm. Longueur totale : 217 cm) veau brun, dos à six nerfs orné, pièces de titre maroquin rouge, tranches mouchetées rouges (reliure de l'époque). Paris, Briasson, David l'Aîné, Le Breton, Durand, 1751-1757 (vol.1 à 7), puis Neufchastel, Samuel Faulche & compagnie, 1765 (vol. 8 à 17), Recueil de planches sur les sciences, les arts libéra ux et les arts méchaniques, avec leur explication, Paris, Briasson, David, Le Breton, Durand, 1762-1772, 11 vol. et suite du Recueil de planches, Paris, Panckoucke, Stoupe, Brunet, 1777, 1 vol. Supplément à l'Encyclopédie, Amsterdam et Paris, M.- M. Rey, Panckoucke, Stoupe, Brunet, 1776-1777, 4 vol., EDITION ORIGINALE de cette Encyclopédie, à laquelle ont collaboré Voltaire, Montesquieu, J.-J. Rousseau, Condillac, les abbés Morellet et Yvon, le baron d'Holbach, Daubenton, Marmontel, Turgot, et dont Brunet dit que ce fut l'entreprise littéraire la plus vaste du XVIIIe siècle. La parution en fut laborieuse malgré les soutiens officieux du marquis d'Argenson, de Madame de Pompadour et surtout de Malesherbes. L'Encyclopédie, par ses tendances révolutionnaires, devait exercer une profonde et durable influence. L'illustration comprend 3129 planches gravées, dont certaines doubles et triples. Tome I des planches dans une reliure légèrement différente, tome V des planches, quelques légères mouillures angulaires, tome VII des planches, Marine, planche VIII taches brunes et manque pages 5 et 6 de la notice Menuiserie en voiture, tome XII des planches taches brunes planches 111, IV, V. Exemplaire incomplet du frontispice et des deux volumes de tables, restaurations anciennes et défauts d usage (voir photos).

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-fareast-language:EN-US;} The handwritten diary of political and military events of the year 1688. Carefully handwritten in black ink, it recounts in great detail the troubled events of this period of Louis XIV's reign, during which France was at war with most of its neighboring states. "The revocation of the Edict of Nantes on October 18, 1685 had just raised the Protestant conscience. On July 9, 1686, the Emperor, Spain, Sweden, Bavaria and the princes of the Franconian circle formed the so-called League of Augsburg against him. When a new conflict opposed him to the Pope about the "franchises" enjoyed in Rome by the French embassy, he seized Avignon and the Comtat Venaissin. He had Cologne and the Palatinate occupied. It is in an atmosphere of true anti-French hatred that we learn, in Europe, of the coup de théâtre which profoundly modifies the balance of power: the English revolution of 1688 which dethrones the Francophile and Catholic Stuart Jacques II for the worst enemy of Louis XIV, William of Orange. Hostilities began in September 1688 and were immediately marked by his atrocious act: the systematic devastation of the Palatinate decided by the king, at the instigation of Louvois." G. Duby, L'âge classique, p. 299. The treaty is part of this context and relates the main events. The manuscript is illustrated with 9 large plans and views on double-page (570 x 440 mm), finely watercolored at the time, in fresh colors: View and plan of the fortress of Mongast in Hungary. - New fortifications of the fortress of Mongast. - The imperial army in front of Belgrade. - Detailed plan of the city, the castle and the suburbs of Belgrade. - Map of Philisbourg, the city, the crowned work, the horned work. - Situation of the city and the castle of Manheim. - Map of Manheim and its new fortifications. - Map of Frankedal. Also included in good order is the plan of the fortress of Ath, drawn up by Maréchal de Vauban and "whose fortification may serve as a perfect model of this art". A precious dedication manuscript destined for the royal household, bound in contemporary red morocco, decorated with the louvre's dentelle and the arms of king Louis XIV.

Rare first edition of the first atlas printed of Russia. Folio, bound in full leather, 19 double-page maps, one large folding general map. In excellent condition with light toning. An exceptional example. "This atlas marks the summit of Russian cartography at the end of the first half of the 18th century" (Svodnyi Katalog). 'As the most complete representation of Russia to date, the atlas gave the European public a knowledge of the vastness and complexity of the Russian Empire' (Whittaker). In 1729, four years after accepting Peter the Great's invitation to come to St Petersburg, De L'Isle suggested an atlas of the entire Russian empire (to a single scale) on 16 sheets. In 1735 the Academy gave its backing, and measurements from a number of expeditions were co-ordinated to produce the present work. The text was issued in various languages: Russian, German, Latin and French, and in combination. Some copies are known with an engraved key on the verso of D2, with apparently no precedence established between the two states. Bagrow-Castner II, pp.177-253 (collation pp.243-244); Phillips, Atlases 4060; Whittaker, Russia Engages the World, pp.96-7.

28 volumes in-folio ( 400 X 260 mm ), veau fauve ocelé, dos à nerfs orné de caissons et fleurons dorés, pièces de titre de maroquin grenat et de tomaison de maroquin olive, tranches brique ( reliure de l'époque ). EDITION ORIGINALE de ce célèbre ouvrage, la plus grande entreprise de l'imprimerie mise au service de la pensée et de la technique française. Il se compose de 17 volumes de texte et de 11 volumes réunissant 2882 PLANCHES gravées en taille-douce par les meilleurs artistes. Le frontispice gravé et le tableau sont bien présents également. Dans les années qui suivirent et jusqu'en 1780, l'éditeur Panckoucke fera paraître cinq volumes de supplément ( dont un de planches ) et deux volumes de tables par P. Mouchon, ils ne sont pas présents ici. Minimes défauts sans gravité pour une série aussi imposante ( quelques piqures et pages brunies uniformément, plusieurs coiffes et mors anciennement -et fort habilement- restaurés. Cachets sur titres ). Séduisant exemplaire, fort décoratif, en reliures homogènes, collationné complet de ses planches ( conforme aux tables ) qui sont pures, d'un beau tirage bien contrasté.*** ATTENTION, VU LE POIDS IMPORTANT DE CET OUVRAGE ( 180,00 kg ), DES FRAIS DE PORT PARTICULIERS SERONT APPLIQUES.*** Gravures Metiers Arts Encyclopédie Edition-originale Sciences.

Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. 1st Edition. Very rare Collection of prints after the most beautiful paintings and the most beautiful designs that are in France: in the King's Cabinet. Covered with Vellum Manuscript Leafs From A Carolingian Bible. Homiliary, in Latin, decorated manuscript on vellum Recueil d'estampes d'apres les plus beaux tableaux et d'apres les plus beaux desseins qui sont en France : dans le Cabinet du roy, dans celuy de Monseigneur le duc d'Orleans, et dans d'autres cabinets ; divise; suivant les differentes ecoles ; avec un abre de la vie des peintres, et une description historique de chaque tableau by Crozat, Joseph Antoine, marquis de Tugny, 1696-1740 1er Volume 57cm x 41 cm Très beau Grand in-folio relié avec des pages d'un parchemin sur vélin Carolingien ? 88 planches gravées numérotées Bon état général quelques pages taches d'eau en fin de volume, rousseurs, oxidation En 1729, le premier volume d'un livre d'un genre absolument nouveau paraît à Paris : il est aujourd'hui connu comme le Recueil Crozat. En 1721, le Régent, Philippe II d'Orléans, avait proposé à son ami, le collectionneur et mécène Pierre Crozat, l'idée d'un recueil d'estampes d'après les plus beaux tableaux italiens figurant dans les collections françaises. Le comité éditorial était composé par Pierre Crozat, passionné d'art italien, et par deux jeunes connaisseurs destinés à devenir les maîtres du goût français : le comte de Caylus, antiquaire et graveur, et Pierre Jean Mariette (1694-1774), marchand d'estampes installé rue Saint-Jacques à Paris. Crozat s'occupa de la coordination de l'entreprise et surtout de l'exécution complexe des estampes de reproduction, confiée à trente-six graveurs différents. Caylus participa en qualité de graveur des plus beaux dessins de la Renaissance italienne, Pierre Jean Mariette écrivit tous les textes : l'introduction de l'ouvrage, les vies des peintres et les analyses stylistiques des tableaux reproduits. Francis Haskell a souligné dans La Difficile Naissance du livre d'art (1992) l'importance du Recueil Crozat, sans doute le premier livre d'art, véritable ancêtre des catalogues illustrés actuels.