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Hardcover. Etat : Very Good. 1st Edition. "3 volumes, imperial folio (27 1/4 x 21 in.; 69.2 x 53.3 cm). 3 lithographed title-pages and 3 letterpress contents leaves, 150 lithographed plates by J. T. Bowen after John James and James Woodhouse Audubon, backgrounds after Victor Gifford Audubon, handcolored and heightened with gum arabic; title-pages creased, short tear at bottom of vol. 1 title repaired, vol. 2 contents leaf creased, upper margin of pl. 51 (Canada Otter) creased, lower right corner of pl. 104 (Collies Squirrel) and left margin of pl. 148 (Tawny Weasel) chipped, minor spotting in top margin of pl. 111 (Musk Ox), pl. 129 (Northern Meadow Mouse) misnumbered 124. A FINE, FRESH AND BRILLIANTLY COLORED COPY. [Together with]: 3 text volumes, 8vo (11 x 7 1/2 in.; 28 x 19.1 cm). New York: J. J. Audubon, 1851; V.G. Audubon, 1851-54. 5 supplemental handcolored lithographed plates by J.T. Bowen in vol. 3, half-titles in vols. 1 and 3 only; lacks subscriber's list, quires 39-42 in vol. 2 misnumbered "VOL. III - 19; 40; 41; and 42." Uniformly bound in contemporary half brown morocco gilt: folios over brick red cloth with yellow-coated endpapers and text volumes over marbled boards with marbled endpapers; endpapers creased in folio volumes. FIRST EDITION OF THE ONE OF THE GREATEST COLORPLATE BOOKS PRODUCED ENTIRELY IN AMERICA IN THE NINETEENTH CENTURY. After an unsuccessful attempt to secure federal funding for his "Great Western Journey," Audubon determined that the commercial potential of the Quadrupeds was sufficient to risk funding the expedition himself. "To render [the Quadrupeds] more complete, I will leave the comforts of my home and beloved family, bound to the Rocky Mountains I cannot tell how long I may be absent, but look to return loaded up knowledge, new and abundant specimens on the shot and not from stuffed museums' moth-eaten remains. I am told that I am too old to undertake such a long and arduous journey, but having the will, I will no doubt safely bear or even surmount the difficulties" (letter to C. Bonaparte, February, 1843, quoted by Rhodes). To his collaborator the Rev. James Bachman, he exclaimed "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed!" (Streshinsky, Audubon: Life and Art in the American Wilderness, p. 332). It was to be J.J. Audubon's last major endeavor. Returning home in late fall of 1843 aged 58 and in declining health, he delegated many of the smaller mammals to his son John Woodhouse to draw and the backgrounds to his youngest, Victor Gifford, who also supervised the printing and publication. Despite Audubon's optimistic timeline for the completed work, it took the family five years to publish 150 plates in thirty parts. The first proofs were ready in 1842, but Audubon was Audubon's lithographer J.T. Bowen was immersed in the production of the octavo set of The Birds of America. The last part of the octavo Birds appeared in May, 1844, and publication of the folio Quadrupeds began immediately, with the first number being issued in January, 1845 and the first volume completed within the year. The accompanying octavo text volumes, written and edited by Rev. John Bachman, first appeared between 1846 and 1854. "The massive project was a commercial success, thanks to the close management of Victor" (Reese), attracting a total number of 300 subscribers. REFERENCES: Bennett p. 5; McGill/Wood 208; Nissen ZBI 162; Reese 36; Sabin 2367 PROVENANCE: Folio Volumes: "W Coll 9119 [-9121]" (shelfmarks on endpapers) and "XBCA AU2" (shelfmarks at foot of spines). L64V5E".

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.

Hardback. Etat : Good+. First Edition. 21 vols bound in 20 (9 volumes quarto text, 1 volume elephant folio text [bound with Antiquities vol I], 11 elephant folio plate volumes), the complete set of 894 plates of which 40 are wholly or partly printed in colours and or hand-coloured, and 2 printed in bistre, many double-page, and or, folding, plate DD in Etat Moderne II with fore-margin sometime renewed, scattered light foxing, contemporary calf gilt with marbled paper panels to covers (moiré cloth panels to natural history vols.), text volumes rebacked to style, spine gilt lettered and ruled, 1809-1830. ANTIQUITIES - 5 vols: (I) Engraved frontispiece, map, 99 plates numbered 1-97 (plates 79 and 87 each in two states) + 1 unnumbered plate; Bound with folio text; (II). 92 plates numbered 1-92; (III). 69 plates numbered 1-69 ; (IV). 72 plates numbered 1-72 + 2 plates lettered e & f ; (V). 89 plates numbered 1-89. ETAT MODERNE - 2 vols. (I). Engraved map, 83 plates numbered 1-83; (II). 22plates numbered 84-105 + 31 plates numbered I-XXXI + 11 plates lettered A-K + 9 plates lettered AA-II + 4 plates lettered KK-NN + 9 plates lettered a-i + 1 plate lettered k (JJ and j not used). HISTOIRE NATURELLE - 2 vols bound in 3: (I). 62 plates; (II). 105 plates; (II bis). 77 plates. Amongst the artists who contributed to this section are Barraband, Bessa, Redoute, and Turpin. CARTES GEORAPHIQUE ET TOPOGRAPHIQUE - engraved title & 52 engraved plates. Provenance: Bookplate of Algernon Percy, 4th Duke of Northumberland (1792-1865). Volumes with either the Garter Crest or Ducal bookplate. Percy, the second son of Hugh, the second Duke, was a distinguished naval officer and a man of science and learning, who rose to the rank of Admiral, and was First Lord of the Admiralty in 1852. Percy became Duke of Northumberland in 1847, and a Knight of the Garter in 1852. FIRST EDITION OF ONE OF THE MOST AMBITIOUS SCIENTIFIC, HISTORICAL, ARTISTIC AND PUBLISHING PROJECTS - A COMPLETE SET WITH FINE ENGLISH PROVENANCE. THE FIRST COMPREHENSIVE DESCRIPTION OF ANCIENTAND MODERN EGYPT, THE OUTSTANDING ACHIEVEMENT OF THE SAVANTS WHO ACCOMPANIED NAPOLEON'S EXPEDITION TO EGYPT (1798-1801). THE WORK IS THE GREATEST OF A NUMBER OF OUTSTANDING SCIENTIFIC PUBLICATIONS BY THE FRENCH GOVERNMENT DETAILING THE RESULTSOF EXPLORATION, UNEQUALLEDBY ANY OTHER NATION DURING THE SAME PERIOD. The only flaw in Napoleon s preparations for the invasion of Egypt was a miscalculation when it came to Turkey s reaction to France s unsolicited help in dealing with its mostly unruly vassals, the Mamluks of Egypt. Had it not been for this, Napoleon s plan for following up military conquest by revolutionising the economy and institutions of Egypt might well have created a modern European-style state, controlled by France, at the axis of all the trade routes between Europe, India and the East. Plans to this end involved nearly 500 civilians, the cream of whom were about 150 men drawn from the Institut de France. Once in Egypt their first task was to make a thorough survey of every aspect of the country to assist the planning of its future shape, and this was extended to include Antiquities. The work was co-ordinated by L Institut de l Egypte (later replaced by the Commission des Sciences et Arts d'Egypte), founded in the appropriated house of Hassan Kachef (illustrated in the plates to the Etat Moderne), with Gaspar Monge as president.As early as October 1798 Fourier was entrusted with the task of uniting the reports of the various disciplines with a view to publication. Following the capitulation of the army to Egypt under General Menou (a convert to Islam), the savants returned to France where a commission was set up for the editing and supervision of the work. The first volumes were published by Napoleon s government, and it is a measure of how important this work was considered to be that publication continued following the Bourbon restoration. . never before or since has a study of such scope and thoroughness been accomplished.

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).

First edition. 21 vols bound in 20 (9 volumes quarto text, 1 volume elephant folio text [bound with Antiquities vol. I], 11 elephant folio plate volumes), the complete set of 894 plates of which 40 are wholly or partly printed in colours and or hand-coloured, and 2 printed in bistre, many double-page, and or folding, plate DD in Etat moderne II with fore-margin sometime renewed, scattered light foxing, contemporary calf gilt with marbled paper panels to covers (moiré cloth panels to natural history vols.), text volumes rebacked to style, spine gilt lettered and ruled. Antiquities, 5 vols: (I) Engraved frontispiece, map, 99 plates numbered 1-97 (plates 79 and 87 each in two states) + 1 unnumbered plate; Bound with folio text; (II). 92 plates numbered 1-92; (III). 69 plates numbered 1-69 ; (IV). 72 plates numbered 1-72 + 2 plates lettered e & f ; (V). 89 plates numbered 1-89. Etat Moderne, 2 vols. (I). Engraved map, 83 plates numbered 1-83; (II). 22 plates numbered 84-105 + 31 plates numbered I-XXXI + 11 plates lettered A-K + 9 plates lettered AA-II + 4 plates lettered KK-NN + 9 plates lettered a-i + 1 plate lettered k (JJ and j not used). Histoire Naturelle, 2 vols bound in 3: (I). 62 plates; (II). 105 plates; (II bis). 77 plates. Amongst the artists who contributed to this section are Barraband, Bessa, Redoute, and Turpin. Cartes Georaphique et topographique, engraved title & 52 engraved plates. First edition of one of the most ambitious scientific, historical, artistic and publishing projects - a complete set with fine English provenance. The first comprehensive description of ancient and modern Egypt, the outstanding achievement of the savants who accompanied Napoleon's expedition to Egypt (1798-1801). The work is the greatest of a number of outstanding scientific publications by the French government detailing the results of exploration, unequalled by any other nation during the same period. The only flaw in Napoleon's preparations for the invasion of Egypt was a miscalculation when it came to Turkey's reaction to France's unsolicited 'help' in dealing with its mostly unruly vassals, the Mamluks of Egypt. Had it not been for this, Napoleon's plan for following up military conquest by revolutionising the economy and institutions of Egypt might well have created a modern European-style state, controlled by France, at the axis of all the trade routes between Europe, India and the East. Plans to this end involved nearly 500 civilians, the cream of whom were about 150 men drawn from the Institut de France. Once in Egypt their first task was to make a thorough survey of every aspect of the country to assist the planning of its future shape, and this was extended to include Antiquities. The work was co-ordinated by L'Institut de l'Egypte (later replaced by the Commission des Sciences et Arts d'Egypte), founded in the appropriated house of Hassan Kachef (illustrated in the plates to the Etat Moderne), with Gaspar Monge as president. As early as October 1798 Fourier was entrusted with the task of uniting the reports of the various disciplines with a view to publication. Following the capitulation of the army to Egypt under General Menou (a convert to Islam), the savants returned to France where a commission was set up for the editing and supervision of the work. The first volumes were published by Napoleon's government, and it is a measure of how important this work was considered to be that publication continued following the Bourbon restoration. '. never before or since has a study of such scope and thoroughness been accomplished on the basis of field work carried out in so short a space of time and under such inadequate and harrowing circumstances' (J.C. Herold, Bonaparte in Egypt, 1963). Antiquities describes not only the ruins, but also the objects excavated, including the Rosetta Stone, here described for the first time. The quality of the plates was much enhanced by the use of an engraving machine invented by Conte, which is itself illustrated among the plates. Etat Moderne describes the architecture of Egypt subsequent to the Arab invasion in the seventh century, particularly Cairo, as well as sections on Art et Métiers, Costumes et Portraits, Vases, Meubles et Instruments, and Inscriptions, Monnaies et Médailles. Algernon Percy, 4th Duke of Northumberland was the second son of Hugh, the second Duke, a distinguished naval officer and a man of science and learning, he rose to the rank of Admiral, and was First Lord of the Admiralty in 1852. He became Duke of Northumberland in 1847, and a Knight of the Garter in 1852. Atabey, 343; Blackmer, 476; Brunet II, 616-617; Nebenzahl, Maps of the Holy Land, 60; Nissen, BBI, 2234; Nissen, ZBI, 4608; Wilbour pp178-185.

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.

5 volumes, folio (21 1/4 x 14 1/2 in.; 54 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, tissue guards between plates and text leaves, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; minor marginal spotting (generally near fore-edge) to approximately 35 plates, 5 instances of very faint pigment offsetting to text, 3 plates toned, 5 plates in vol. 2 without tissue guards but retaining their brightness, Wood Pigeon plate in vol. 4 lightly creased in top and lower margins, long but expertly closed tear along lower margin of Woodcock plate in vol. 4 not significantly affecting image. Nineteenth-century half green morocco over green cloth, spine in 7 compartments richly gilt with raised bands (2 lettered and numbered), "Dutch Curl" marbled endpapers, edges gilt; extremities lightly rubbed, one short tar near joint of vol. 1 front cover, short indentation on front cover of vol. 2, a few light scratches elsewhere to boards. FIRST EDITION OF JOHN GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. AN EXCEPTIONALLY CLEAN AND BRIGHT COPY WITH VIVID HANDCOLORING. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Sir John Arthur Brooke (1844-1920) of Huddersfield, West Riding, Yorkshire (his Fenay Hall bookplate). His 20,000-volume library was sold at auction (Sotheby's, May-June 1921) for a total of £32,312 (approximately £1.5 million in today's money) L65BTH1A.

5 volumes, folio (21 x 14 1/2 in.; 53.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; most plates with light to moderate pigment offsetting to text (most prevalent in vols. 4-5), occasional faint text offsetting and marginal spotting to plates, caption on Snowy Owl plate in vol. 1 partially cropped, caption on White Crane plate in vol. 4 a trifle shaved, Tufted Duck plate in vol. 5 a little toned. Modern half green morocco to style over green cloth, the spine in 6 compartments gilt with raised bands, grey holland endpapers, top edges gilt, with Hatchard's stamp on verso of front free endpapers; foot of spine of vol. 1 rubbed. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series, this copy having belonged to Henry Richard Cox, whose name appears in the list of subscribers in volume 1. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Henry Richard Cox (1779-1865) (armorial bookplate and named in list of subscribers); Sacchetti, (bookplate, possibly the House of Sacchetti, an Italian noble family) L65BTH2A.

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.

A total of 36 vols.: 26 text vols. (4to) and 10 atlas vols. (elephant folio). With coloured frontispiece and 899 engraved plates and maps, many double-page-sized and folded. Slightly later English half calf, professionally repaired in places. Second edition of this monumental work (the first was published from 1809 onwards), the first comprehensive description of ancient and modern Egypt. Commissioned by Napoleon during his Egyptian campaign between 1798 and 1801, this encompassing historical, archaeological, art-historical, and natural-historical account of the country was realised through the efforts of the Institut d'Egypte in Cairo. Its influence was enormous, establishing Egyptology as an intellectual discipline and nurturing a passion for Egyptian art throughout the Western world. Edited by some of the leading intellectual figures in France, the Description also includes contributions from celebrated artists such as Jacques Barraband, Pierre-Joseph Redouté, Geoffrey Saint-Hilaire, Jules-César Savigny and others. More than 150 scholars and scientists and some 2000 artists, designers and engravers were involved in its preparation. The success of the publication was such that work on the second edition (known as the "Pancoucke edition") began before the first was completed. The text was expanded into a greater number of volumes, now printed in a smaller format; new pulls were taken from the plates, and these were bound with many of the large-format plates folded into the new, reduced dimensions. - A splendid, clean copy, complete with all the plates. An incomplete copy of the second edition of the Description de l'Egypte sold at Sotheby's for £68,750 in 2016. - Blackmer 526. Gay 1999. Brunet II, 617. Graesse II, 366. Cf. Monglond VIII, 268-343 (for the first edition). Nissen, BBI 2234. Nissen, ZBI 4608. Heritage Library, Islamic Treasures, s. v. "Art" (illustration).

[4], 197 ll.First Dutch edition of Otto van Passau's devotional work (dated 20 days after the original German edition), the first Dutch book extensively illustrated with woodcuts. The Gouda Dialogus Creaturarum was published a month or two later, in June 1480. Each of the 24 chapters opens with a woodcut illustration, showing a pious woman (the loving soul) taking advice from a king (the 24 elders of the Apocalypse). In each chapter one of 24 biblical wise men (the elders of the Apocalypse) teaches the soul how to live as a good Christian. Our copy is richly and beautifully adorned with decorated initials supplied by hand and is rubricated throughout. The work was immensely popular and there are many manuscripts and early editions in both German and Dutch. Our first edition of the Dutch translation is of the utmost importance for the history of the text: serving as the source for all subsequent Dutch editions (as well as manuscripts). Some library stamps at foot of first leaf. In very good condition, with some tears and small holes in leaves repaired, first and last leaves thumbed; final blank lacking. Re-backed, and with the leather restored where the fastenings were formerly attached. Beautiful large-margined copy from the Broxbourne Library (bookplate at the end).l BMC IX, p. 14; Campbell 1342; Goff O-124; Hain 12131; HPT I, p. 47; IDL 3462; ILC 1674; Oates 3331; Polain (B) 2940; Proctor 8861.

5 volumes, folio (21 x 14 1/2 in.; 53.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; approximately a third of the plates with light to moderate pigment offsetting to text most prevalent in vol. 5, occasional faint text offsetting to plates, minor marginal spotting to a few plates and text leaves, light toning to 3 plates, short internal tear in bottom text margin (vol. 5, plate 91 - Ivory Gull). Nineteenth-century full green morocco elaborately panelled gilt with foliate rolls and one large roll with alternating birds in flight and cornucopia, the spine in 6 compartments richly gilt (2 lettered and numbered), gilt dentelles, Bouquet combed marbled endpapers, edges gilt; extremities rubbed, a few scratches and scuffs to boards, vol. 2 binding a bit shaken. RAILROAD MAGNATE JAY GOULD'S COPY, FIRST EDITION OF JOHN GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Jay Gould, 1836-1892, (his bookplate depicting "Lyndhurst," his Gothic Revival mansion on the Hudson, and his shelf ticket); his daughter, the philanthropist Helen Gould Shepard, 1868-1938 (her bookplate) L65BTH1B.

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.

Couverture souple. Etat : Neuf. Edition originale. LE RARISSIME EXEMPLAIRE N° 2 IMPRIMÉ SUR VERGÉ D'ARCHES, LE PREMIER GRAND PAPIER, avant 100 exemplaires imprimés sur papier Alfa. In-8° ; 623 p., 1 feuillet blanc non chiffré. Broché de l' éditeur à l'état neuf, non coupé ! La plus belle condition que l'on puisse espérer pour ce livre (1932). Les rarissimes exemplaires nominatifs du tirage de tête sur papier vergé d' Arche, réservés à quelques proches de l'auteur, sont les plus recherchés. Cette édition originale en premier grand papier compte parmi les plus rares de la littérature du XXe siècle. Le dossier complet avec photographies sur notre site web: librairieherodotecom FIRST EDITION. FIRST LARGE PAPER. VERY SCARCE. FICHE BIBLIOGRAPHIQUE DÉTAILLÉE ET PHOTOGRAPHIES SUR NOTRE SITE : LIBRAIRIEHERODOTE,COM.

First edition, first printing, number 24 of 80 copies signed by Lichtenstein and Ginsberg on the limitation page from a total edition of 125; each print is initialled lower right by Lichtenstein, numbered lower left. In 1991, Lichtenstein was approached to provide illustrations for a French edition of Allen Ginsberg's The New Fall of America. Ginsberg selected 11 poems to be translated into French and Lichtenstein created 10 collages inspired by them, from which etchings were printed for the book. The imagery is characteristic of Lichtenstein's work in popular illustrations. "The image of Ginsberg as a Buddha in a lotus pose, for instance, was inspired by a vignette symbolizing meditation on a yoga class sheet. Cubistic visions of the city and emblems of explosions alternate with more peaceful landscapes to provide a visual counterpart to Ginsberg's vivid evocation of contemporary America" (Morgan Library and Museum). Corlett 267-276. Folio. Original red cloth, spine lettered in white, Velin d'Arches paper pages unbound. With the publisher's blue cloth slipcase. 10 coloured etching and aquatints on 250 gsm Velin d'Arches paper. Sheet sizes: Approx 48 x 35.4 cm. Image sizes: Approx 37.5 x 27.8 cm. Fine in fine slipcase.

First Edition. Two vols, folio (c.350 x 248mm), comprising 156 unsigned original watercolour plates (77 in vol.I, 79 in vol.II), each image within double-ruled frame with neatly written caption in French above (a few without captions), a blank leaf facing each plate; on thick Dutch paper with Strasburg lily watermarks of C.& I.Honig, I.Villedary, VDL, and LVG (see Churchill 405 408 and 411, dated 1730s 60s); very occasional light marks and minor spotting; very well preserved in contemporary French red morocco, borders triple-filleted in gilt, spines richly gilt in compartments with gilt green morocco lettering- and numbering-pieces, board-edges and turn-ins roll-tooled in gilt, edges gilt, marbled endpapers; very neat repairs to endcaps and corners, a few very light marks to covers; gilt arms of Jérôme-Frédéric Bignon to covers (Olivier pl.872), his autograph signature to front free endpapers, a few brief ink notes facing some of the plates likely by Bignon, later blue ink stamp with Bignon arms to 6 of the plates; gilt morocco book label of Laurent Meeûs, with motto 'Hic liber est meus', to front pastedown of vol.I, and armorial bookplate of Carleton R.Richmond to front pastedown of both volumes.A truly stunning collection of over 150 original eighteenth-century botanical watercolours, attributed to the noted Dutch botanical artist Pieter van Loo (1731 1784). Born at Haarlem in the Netherlands, Loo spent most of his life in his native city where he was registered with the Painters Guild as a 'painter of flowers'. He is perhaps best known for his watercolours of hyacinths, a collection of which entitled 'Choix de Jacintes' and comprising thirteen images by Loo and Cornelis van Noorde painted between 1765 and 1769 is preserved at the Oak Spring Garden Library in Virginia. The vibrantly coloured and beautifully executed images here run in more or less alphabetical order from 'l'Asther à fleur blanche' to 'la Gimauve' in volume 1, and from 'Hépatique' to 'Verveine' in volume II, each set neatly within a ruled frame, through which they occasionally burst as in the case of 'Chelidoine de l'Amerique' for example with considerable exuberance. Of particular note in the first volume are the artist's depictions of anemone, cornflower, Gros Blanquet pear, sunflower, cyclamen, cotton, sugarcane, honeysuckle, pomegranate, and various geraniums. The second volume includes especially beautiful renderings of hibiscus, jasmines, irises, mallow leaves, an orange branch, roses, rhubarb, euphorbia, and tomatoes. Provenance: 1. From the library of Jérôme-Frédéric Bignon (1747 1784), who succeeded his father as royal librarian to Louis XV in 1770. Bignon was clearly interested in horticulture, adding an orangery to the château du Plessis-Piquet which he purchased in 1776. Sold at the Bignon sale of 8 January 1849, lot 547 ('Recueil de 156 planches représentant les principales plantes dessinées et peintes avec le plus grand soin sur papier fort'). 2. Late nineteenth-century or early twentieth-century collector's mark 'GL' (not in Lugt) to verso of front free endpapers. 3. Baron Laurent Meeûs (1872 1950), Belgian industrialist, bibliophile, and collector of Old Master Paintings, sometime President of the Friends of the Royal Museums of Fine Arts of Belgium, with his gilt morocco booklabel to the upper pastedown of the first volume. 4. Carleton Rubira Richmond (1887 1975), the Bostonian businessman, collector, and President of the American Antiquarian Society, with his armorial bookplate to the upper pastedowns. 5. Sotheby's, 30 October 1981, lot 74. Language: French.

[50] ff. [a g6, H8].Very rare Cologne edition of "The Seven Sages of Rome", a popular mediaeval cycle of stories about wise counsellors and wicked women which has its ultimate roots in the Middle East, where it is usually known as "The Book of Sindbad". This Latin edition (the seventh altogether) further boasts a series of woodcuts which count among the earliest illustrations of any version of Alf layla wa-layla.The frame narrative tells the story of prince Diocletian, who is falsely accused by his jealous stepmother, but is finally set free by the seven wise men (corresponding to the Seven Sages of Greece). These seven masters tell a story each, over seven successive days. The narrative s oriental elements are derived partly from the the Old Testament (Joseph and Potiphar), but principally from its Arabian sources: the present version shares four stories with "The Book of Sindbad", the main difference being that "the sages tell only one story each instead of the two or more in the Eastern tradition" (Runte, p. xiii). The first printed edition was also published in Cologne, by J. Veldener, in 1475. The popularity of these stories proved to be immense, inspiring Boccaccio and Chaucer, among others.The style of the 23 fine woodcuts which illustrate this edition is reminiscent of the Dutch Bellaert Master. They were first used in the Low German edition published by Claes Leeu (and printed by his brother Gerard) in Antwerp on 11 April 1488. The Leeu brothers lent them to Koelhoff, and re-used them in Antwerp Latin edition by Gerard Leeu of 6 November 1490 under the new Latin title "Historia calumnie novercalis".Binding slighty rubbed, with old wormholes to covers. Very clean throughout; a contemporary touch of light red colour has been applied to the second woodcut. Extremely rare: no more than 16 copies known in public collections, many of which are incomplete. The only other copy ever to appear on the market was part of an incunabular sammelband (the Dietrichstein copy, first sold through Gilhofer & Ranschburg in 1933).l HC 8725. GW 12853. Goff S-449. IDL 2330. Vouilliéme (Köln) 587. BMC I 230. Polain 4440 (incpl. copy in KUL). ISTC is00449000. Runte, The Seven Sages of Rome and the Book of Sindbad, no. 671. Woodcuts: Schramm VIII-301, 303-314 and Kok 92.1-12.

Original Braaq oil painting. Two Peneth of Chips and a Fish Large Liverpool street scene with rows of terraced houses, figures and mill beyond, oil on canvas, signed 'braaq ann'. A very rare example showing the artist as a young boy with striped shirt in the foreground and his sister Ann skipping with her friends. An imposing painting approx 750mm x 5000mm (39x29 inches framed). Original frame has some extremity wear and small marks. Painting is fine. A most beautiful large original street scene industrial painting by Brian Shields. PLEASE REQUEST FURTHER IMAGES TO VIEW THIS INCREDIBLE ORIGINAL PIECE OF ART. Accompanied by a full insurance authenticity certificate. 100% authenticity guaranteed. Brian Shields (1951-1997) was a Liverpool-born English painter. He is best known for painting industrial scenes of northern Britain. The unusual name of 'braaq' is a misspelling of the famous French artist Braque which, on account of his artistic talent as a boy, was his nickname at school. The name 'Ann' after his own signature was his sister who died at the young age of 21 and to whose memory all of his subsequent paintings were dedicated. All of Braaq's paintings are based, in a humorous way, on his childhood memories of Liverpool. In 1977 he held four exhibitions in London and was described by The Times as "one of the six most successful artists in England." This is one of several rare original Braaq paintings we currently have available for sale. Signed by Illustrator.

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.

In-8 de (36)-106-(2) pp., maroquin rouge, dos orné à nerfs, armes poussées sur les plats et en pied de dos, frise dorée d'encadrement, tranches dorées (reliure du XVIIIe siècle). Exemplaire de l'auteur biffé, corrigé, annoté et enrichi de la main de Charles Perrault avec près de quatre-vingt dix interventions autographes à l'encre brune réparties sur l'ensemble du texte imprimé, plus une préface inédite (2 pages).Édition originale et seule publiée dédicacée à Jacques Bénigne Bossuet suivie de l'E?pi?tre chre?tienne sur la pe?nitence et de l'Ode aux nouveaux convertis de 1685 produite a? l?occasion de la re?vocation de l?e?dit de Nantes. L'illustration est composée de sept vignettes gravées par Sébastien Leclerc. « La dévotion à saint Paulin est très répandue dans la France du grand siècle. De nombreuses confréries se créent autour des années 1665-1670 ; pour accélérer le recrutement, on fait entrevoir aux fidèles la possibilité d'obtenir des reliques du saint. Elles se font longtemps attendre et arrivent en France en 1685. L'arrivée en France des reliques du saint des coliques et des fruits et légumes a éveillé un certain écho dans le milieu de l'humanisme dévôt et dans celui des amateurs de jardins (.) Saint Paulin est précédé d'une longue épître-dédicace à Bossuet. Perrault répond par avance aux objections que le lecteur serait tenté de lui faire (.). Mais on distingue vite, à travers l'exposé érudit, la véritable pensée de l'académicien. Son but est de se poser en doctrinaire de l'art moral. Saint Paulin est pour lui l'occasion d'expliquer et de mettre en pratique une idée qu'il considère comme essentielle : la nécessité pour la France d'élaborer un art de type nouveau, un art chrétien qui sera nécessairement supérieur à l'art barbare de la civilisation païenne » (Marc Soriano). Les corrections de Charles Perrault sont souvent importantes, pouvant porter sur des groupes de quatre à cinq alexandrins consécutifs, biffés, retouchés, parfois remplacés par des vers copiés dans les marges (pages 2, 7, 22, 36, 44, 49, 56, 62, 63, 74, 78, 79, 85). Les quatre premiers chants sont suivis d'un court résumé de sa main.Placée en tête d'exemplaire, une préface inédite, également reprise et biffée par ses soins, explicite les intentions de l'auteur après la publication de Saint Paulin : Préface (?) que ce Poème ait été bien reçu du public (?) Je nay pas laissé de le corriger en plusieurs endroits (?) si l'on était encore dans le genre d'Horace qui ne se (sentait) guère offensé de (nommer) quelques légers défauts dans un poème quand d'ailleurs il y rencontrait beaucoup de (?) qui lui plaisaient mais aujourd'hui on a tellement pris le contrepied de ce grand poète que quelques beautés que puisse avoir un poème on ne le puisse souffrir (?) la moindre négligence. Autrefois on passait légèrement sur ce qui était faible pour s'arrêter aux endroits qui avaient ou de la force ou de la délicatesse. Dans ce temps-ci on coule vite sur ce qui est beau pour ne faire attention qu'à ce qui est défectueux et digne de censure. Le plaisir de la lecture a changé d'objet (?). En regard de cette préface, est imprimé un essai typographique "Ministre saint / Croyons" répété quatre fois.« En publiant en 1686 son poe?me e?pique sur Saint Paulin, Perrault (1628-1703) avait certainement cherche? a? se faire une place e?minente dans les Lettres, car l?e?pope?e e?tait unanimement conside?re?e comme le genre litte?raire le plus difficile dans lequel, en France, tous ceux qui s?y e?taient essaye?s (et ils e?taient nombreux) avaient e?choue? Bussy-Rabutin e?tait alle? jusqu?a? dire qu?« un poe?me e?pique ne peut re?ussir en notre langue ; il est aise? de le prouver par des exemples. Le Moi?se, le Saint Louis, la Pucelle, le Clovis et l?Alaric en sont de bons te?moignages ». Celui qui y parviendrait serait imme?diatement consacre? Perrault fera d?ailleurs une deuxie?me tentative avec son Adam en 1696 et il chercha toujours a? sauver la valeur de son Saint Paulin contre les sarcasmes de Boileau, bien qu?il ait fini par e?tre oblige? d?avouer que son poe?me e?pique contenait quelques faiblesses » (Ge?rard Ge?linas, Charles Perrault revisite?, p. 251).Bel exemplaire, jamais décrit, relié en maroquin rouge aux armes de François Michel de Léon (Marseille 1727-1800), trésorier général des finances en Provence ; fils de Jean-Joseph et Marie-Anne de Borély, il a rassemblé toute sa vie une collection d?environ 1800 volumes concernant principalement l?histoire de la Provence. Il composa de nombreux ouvrages qui furent publiés. « Michel de Léon mourut dans sa ville natale le 17 janvier 1800, laissant toutes ses richesses si laborieusement acquises à son fils unique, qui les conserva jusqu?à sa mort. C?est alors qu?eut lieu la dispersion de la bibliothèque et des collections. Les ouvrages les plus rares furent vendus aux prix les plus infimes. Les bouquinistes et les fripiers, encombrés de livres de toutes sortes, achetés au poids du papier pour la plupart, s?en débarrassaient avec empressement. Heureusement, il se trouva des amateurs d?élite, les marquis de Clapiers et de Foresta, L. de Crozet et Second-Cresp, entre autres, qui recueillirent quelques-unes de ces précieuses épaves » (Émile Perrier).Brunet, IV, 509 ; Tchemerzine V, 166 ; Cioranescu, 54255 ; Olivier, Hermal, Roton, planche 1655 ; Émile Perrier, Les Bibliophiles et les collectionneurs provençaux anciens et modernes, Marseille, 1897, p. 354.

Original Braaq oil painting. Newsham Park In The Snow, oil on board, signed 'braaq 75 FB', An imposing painting 1200mm x 600mm (framed 52x28 inches) A wonderful original oil on board. Frame has some extremity wear and small marks. An exceptional example of his early work, the year after his first ever exhibition. The painting pre-dates the death of his sister ANN, to whom he then dedicated all his work. A most beautiful large original park scene painting by Brian Shields. PLEASE REQUEST FURTHER IMAGES TO VIEW THIS INCREDIBLE ORIGINAL PIECE OF ART. Accompanied by a full insurance authenticity certificate. 100% authenticity guaranteed. Brian Shields (1951-1997) was a Liverpool-born English painter. He is best known for painting industrial scenes of northern Britain. The unusual name of 'braaq' is a misspelling of the famous French artist Braque which, on account of his artistic talent as a boy, was his nickname at school. The name 'Ann' after his own signature was his sister who died at the young age of 21 and to whose memory all of his subsequent paintings were dedicated. All of Braaq's paintings are based, in a humorous way, on his childhood memories of Liverpool. In 1977 he held four exhibitions in London and was described by The Times as "one of the six most successful artists in England." This is one of several rare original Braaq paintings we currently have available for sale. Signed by Illustrator.

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.

Title with two fine woodcut vignettes, final leaf with a fine & large woodcut on verso, and numerous woodcut diagrams & printed tables in the text. Many fine woodcut initials. 8 p.l., clii numbered leaves. Folio, cont. richly blindstamped pigskin over bevelled wooden boards (two corners a little worn, first five leaves with unimportant marginal wormhole, second leaf with three small pale ink splatters), orig. clasps & catches. Nuremberg: J. Montanus & U. Neuber, 1545. [bound with]: APIAN, Peter & JABIR IBN AFLAH. Instrumentum Primi Mobilis, à Petro Apiano nunc primum et inventum et in lucem editum?Accedunt ijs Gebri filii Affla Hispalensis?Libri IX. de Astronomia, ante aliquot secula Arabice scripti & per Giriardum Cremonensem Latinitate donati. Title in red & black with large woodcut of two astronomers holding scientific instruments after Dürer, a full-page woodcut coat-of-arms on recto of a2, & numerous woodcut illus. & diagrams in the text. 40 p.l., 146 pp., one blank leaf. Folio. Nuremberg: J. Petri, 1534. [bound with]: -. Horoscopion Apiani generale dignoscendis horis cuiuscumque generis aptissimum, neque id ex Sole tantum interdiu, sed & noctu ex Luna, aliisque Planetis & Stellis quibusdam fixis, quo per universum Rhomanum imperium atque adeo ubivis gentium uti queas, adiuncta ratione, qua utaris, expeditissima, nunc ab illo primum & inventum & aeditum?Nocturna quoque adnexa est observatio horaria ex digitis manuum? Title in red & black with a large woodcut depicting the fine "Horoscopion" instrument & numerous woodcuts in the text. 20 unnumbered leaves. Folio. Ingolstadt: [Printed at the author's private press], 1533. [bound with]: -. Instrument Buch, durch Petrum Apianum erst von new beschriben. Zum Ersten ist darinne begriffen ein newer Quadrant, dardurch Tag und Nacht, bey der Sonnen, Mon, unnd andern Planeten, auch durch ettliche Gestirn, die Stunden, und ander nutzung, gefunden werden. Zum Andern, wie man die höch der Thürn, und anderer gebew?durch die Spigel und Instrument, messen soll. Zum Dritten, wie man das wasser absehen oder abwegen soll ?und wie man die Brünne suchen soll. Zum Vierden, sindt drey Instrument, die mögen in der gantzen welt bey Tag und bey Nacht gebraucht werden?Zum Fünfften, wie man künstlich durch die Finger der Hände die Stund in der Nacht, on alle Instrument erkhennen soll. Zum Letzten, ist darin ein newer Messstab, des gleichen man nendt den Jacobs stab, dardurch auch die höch, brayt, weyt, vnd tieffe, auff newe art gefunden wirt. Title printed in red & black with large woodcut depicting four astronomers at work with two cubes & a tower, full-page woodcut coat-of-arms of the dedicatee Hans Wilhelm von Laubenberg on verso, & numerous woodcuts in the text (several of the full-page woodcuts are slightly cropped at outer margins), without the nine supplementary plates which are usually missing. Ingolstadt: [Printed at the author's private press], 1533. [bound with]: MUENSTER, Sebastian. Fürmalung und künstlich Beschreibung der Horologien, nemlich wie man der sonnen uren mit mancherley weys und form, und auff allerley gattung entwerffen soll an die mauren, auff die nider unnd auffgehebte ebne, auff rotund, schlecht, aussgraben und andere mancherley instrument? Woodcut diagram on title of a sundial & numerous woodcuts in the text. 4 p.l., CLVII leaves, one blank leaf. Folio (a few leaves slightly soiled). Basel: H. Petri, [1537]. [bound with]: ASTRONOMIA. Teutsch Astronomei. Von Art, eygenschafften, und wirckung. Der vii. Zeychen des Himels. Der vii. Planeten. Der xxxvi. Himelischen Bildern und iren Sternen. Von den Spheren des Himels. Bedeutung der finsternus Sonn und Mon. Gestalt und bedeutung der Cometen?in eyn kurtze summ gestelt, yetzt new in truck verfertiget. Item C. Ptolomei. Von Uffgang und Nidergang bedeuttung und wirckung in verenderung des luffts durchs gantze Jar alle tag der Himelischer bilder und irer sternen verteutscht. Woodcut diagram on title and 95 handsome woodcuts includin.

Original, vintage hand-drawn and colored plan. Rolled. Large format, 4 sheets mounted together. Size: ca. 235 × 70 cm. Brune's plan of the Great Temple at Karnak is the most detailed and precise 19th-century architectural plan of the monument. This large, exhibition size plan of the Great Temple at Karnak was designed by Emmanuel Brune (1836-1886), a French architect, and professor at the École des Beaux-Arts. In 1863 Brune's design of a main staircase (L'Escalier principal d'un palais d'un Souverain) was awarded the Premier Grand Prix de Rome, which granted the architect a four-year scholarship and a study tour to the Levant. While in Egypt, Brune carried out archeological works and restorations at the sites of Thebes and Luxor, as part of Auguste Mariette's (the director of the Egyptian Department of Antiquities) excavation projects in Karnak. Besides such activities, for his Envoi de Rome, (a collection of artworks which a winner of the Prix de Rome sent back from the field trip each year to be exhibited in Paris) Brune designed detailed plans and drawings of the sites at Karnak and elsewhere. Plan du grand temple de Karnak, à Thèbes was among Brune's third-year collection of Envoi which was exhibited in Paris in 1867 (Auvray, De La Chavignerie, 1882; Azim, 1989; Köhler, 1878), and due to the size of the present piece, we assume that this was the one displayed at the exhibition. Brune's Plan du Grand Temple de Karnak is more detailed and accurate than it's 19th-century predecessors (particularly concerning the Courtyard of Middle Kingdom and the Akh-menu of Tuthmosis III), such as Lepère's Plan, coupe générale et élévation du palais in Description de l'Egypte (Paris, 1812), Prisse d'Avennes' Karnak: Plan Général des Ruines in Du Camp's Égypte, Nubie, Palestine et Syrie (Paris, 1852), or Félix Teynard' Karnak (Thèbes) Plan des ruines principales in Égypte et Nubie (Paris, 1858). The plan was reproduced or referred in prominent works on ancient and Egyptian art and architecture, among others in Mariette's Karnak, étude topographique et archéologique (Leipzig, 1875), Perrot and Chipiez's Histoire de l'art dans l'Antiquité, Égypte (Paris, 1882), Choisy's Histoire de l'Architecture (Paris, 1899), or Sturgis' A History of Architecture (New York, 1916). Brune's plan of the Temple of Ramesses III at Medinet Habu appeared in Maspero's Bibliothèque égyptologique (Paris, 1894). Brune also contributed to the excavations and restorations at the Deir el-Bahari area, especially the Temple of Hatshepsut (Iwaszczuk, 2017), and some sources gave more credit for these works to him than to Mariette (Naville, 1894; The Builder, 1898). Literature: Auvray, L.; De La Chavignerie, É. B.: Brune (Emmanuel). In Dictionnaire général des artistes de l'école française [.]. Vol 1. Paris: Renouard, 1882. p. 175.; Azim, M.: Karnak et sa Topographie. In Göttinger Miscellen. 113. Göttingen, 1989. pp. 33-47.; The Builder: The Architectural Societies. In: The Builder. Vol., LXXV. No. 2909. November 5, 1898. p. 409.; Iwaszczuk, J.: Sacred Landscape of Thebes during the Reign of Hatshepsut [.]. Vol. 1. Varsovie: IKSiO PAN, 2017. p. 49. Köhler, B. H.: Die Kunstschule, Ecole national des Beaux-Arts, zu Paris. In Zeitschrift für Technische Hochschulen. Jahrg. III. Nr. 5. Hannover, 1878. pp. 33-36.;.; Naville, E.: The temple of Deir el Bahari [.]. London: Egypt Exploration Fund, 1894. p. 12. . With a few nicks and closed tears at the edges. Horizontal creases. Pinholes at the corners. Traces of old restoration on the verso. Overall in very good condition. Original, vintage hand-drawn and colored plan. Rolled. Large format, 4 sheets mounted together.

Hardcover. Etat : Very Good. 1st Edition. 5 volumes, folio (21 3/8 x 14 1/2 in.; 54.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches) and printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; vertical creases to list of plates in vols. 2-5 and to first plate (Snow Goose) in vol. 5, very faint, occasional marginal foxing to plates, neat repair to small tear along bottom margin of Rose Coloured Pastor in vol. 3, overall a VERY FRESH, BRIGHT COPY. Contemporary red morocco paneled gilt, spines in 6 compartments richly gilt (2 lettered), marbled endpapers, edges gilt; joints lightly rubbed, small tear to spine head of vol. 2, covers a bit darkened from leather treatment. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 (L64F16C-D).

Ninth Printing of the First Edition. 205 x 160 mm. (8 1/8 x 6 1/4"). 4 p.l. (first blank), 735 pp. DRAMATIC DARK BLUE-GRAY CRUSHED MOROCCO, BLIND-TOOLED AND INLAID TO AN ABSTRACT DESIGN, BY SALLY LOU SMITH (stamp-signed with her initials in gilt on rear doublure), with overall wraparound design of inlaid elongated, irregular-shaped pieces of black, gray, blue, tan, and yellow morocco with blind-tooled lines extending from these shapes, MATCHING MOROCCO DOUBLURES tooled in gilt with branch-like lines, yellow handmade free endpapers, gray flyleaves, all edges gilt. In the matching morocco-backed clamshell box. Front flyleaf INSCRIBED BY JOYCE TO H. G. WELLS: "To / H. G. Wells / Respectfully / James Joyce / 5 November 1928 / Paris." Slocum and Cahoon 17. â Isolated faint foxing or marginal spots, but a clean, fresh copy with few signs of use, in a new binding. This later printing of what is generally recognized to be the most important 20th century novel in English is inscribed by the author to one of his earliest and most important supporters, and is offered in a binding by an influential Designer Bookbinder. First issued in 1922, "Ulysses" rocked the literary world. J. B. Priestley, writing in the "Clarion" in 1934, said what most scholars and critics acknowledge--that "as a literary feat, an example of virtuosity in narration and language, it is an astounding creation. Nobody who knows anything about writing can read the book and deny its author, not merely talent, but sheer genius." Our copy was presented by Joyce to H. G. Wells (1866-1946), whose support of "Portrait of the Artist as a Young Man" was instrumental in establishing Joyce's literary reputation. Reviewing that book in 1916, Wells praised "its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction." He considered "Portrait" to be "by far the most living and convincing picture that exists of an Irish Catholic upbringing," and noted how sharply it contrasted the Irish and the English: "No single book has ever shown how different they are, as completely as this most memorable novel." The two men did not meet until 12 years later, in Paris, at which time Joyce inscribed the present copy of his masterwork to Wells. At the same time, Joyce presented Wells with some excerpts of what would become "Finnegan's Wake." On 23 November 1928, Wells wrote to Joyce from his winter home in the south of France, expressing his regret that he could not promote these latest works with the same enthusiasm: "I have enormous respect for your genius dating from your earliest books and I feel now a great personal liking for you but you and I are set upon absolutely different courses. . . . I want a language and statement as simple and clear as possible. . . . Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?" Still, Wells acknowledged, "Your work is an extraordinary experiment and I would go out of my way to save it from destructive or restrictive interruption." The abstract binding by distinguished modern artisan Sally Lou Smith evokes a journey: as the multicolored inlays march from the rear edge around the spine and across the front against a grim, gray ground, Bloom's peregrinations through Dublin and the characters he encounters seem to be brought to mind. Born in the United States, Smith (1925-2007) spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001).

Couverture rigide. Etat : Très bon. Edition originale. 24 tomes de texte en 26 volumes in-8 et 11 volumes grand in-folio d'atlas (10 de planches et un atlas géographique).Demi-veau bleu glacé, dos lisses avec titres et tomaison en lettres dorées, plats recouverts de papier marbré bleu (reliure de Tessier relieur et doreur se S.A.R. le Duc d'Orléans, avec son étiquette au contreplat supérieur du volume Antiquités 1). (Dos des atlas refaits, plats conservés avec quelques restaurations de papier ; rares rousseurs légères, frontispice restauré). SECONDE EDITION de ce monument de l'histoire du livre comprenant 994 planches.L'ouvrage comprend: Texte: Antiquités. Description - 5 volumes. Antiquités. Mémoires - 4 volumes illustrés de 13 tableaux, 5 planches et 1 carte. Etat Moderne - 8 tomes en 10 volumes illustrés de 45 planches (en 25 feuilles), 17 tableaux (en 17 feuilles) et 2 cartes (ancienne et comparée de l'Egypte, - de la Basse-Egypte). Histoire Naturelle - 6 volumes illustrés de 2 tableaux (en 4 feuilles) et 1 planche. Explication des planches - 1 volume Atlas: Antiquités - 5 volumes illustrés du frontispice, 420 planches (compris le portrait de Louis XVIII) et un tableau. Etat Moderne - 2 volumes illustrés de 189 planches sur 181 feuilles. Histoire Naturelle - 2 tomes en 3 volumes illustrés de 245 planches. Atlas géographique - 1 volume illustré de 53 cartes et planches dont titre gravé à double page.Soit un total de 908 planches in-folio, auxquelles il faut rajouter l'illustration des volumes in8, soit 3 cartes, 32 tableaux et 51 planches.Très bel exemplaire. La Description de l'Egypte est le résultat de la collaboration des savants, artistes et techniciens qui suivirent Bonaparte en Egypte. C'est L'OUVRAGE LE PLUS MONUMENTAL JAMAIS CONSACRE A UN PEUPLE. Monge et Denou en furent les maîtres d'?uvre.Votée par le Directoire en avril 1798, l'expédition militaire en Egypte menée par Bonaparte se double d'une expédition scientifique.Pour cela, Bonaparte crée une commission des sciences et des arts composée de savants et experts ; au total, 167 personnes, toutes disciplines confondues, vont faire partie de l'expédition : physiciens, peintres, naturalistes, dessinateurs, mathématiciens, astronomes, géographes, architectes, sculpteurs, hommes de lettres, imprimeurs, etc. parmi lesquels Jacques Barraband, Geoffroy Saint Hilaire, Jules-César Savigny, Pierre-Joseph Redouté, Vivant Denon, Conté, Méchain, etc. Deux mois après leur arrivée en Egypte, Bonaparte crée l'Institut d'Egypte dans le but de consigner, reproduire et répertorier les travaux et recherches des savants dans les domaines multiples et variés de l'antiquité, l'architecture, la langue, l'artisanat, la musique, l'industrie, la minéralogie, la médecine, etc. Malgré tous les obstacles, l'expédition réussit à ramener une quantité de documents impressionnante et inédite. C'est grâce à la compétence de tous ces hommes que cette ?uvre monumentale a pu voir le jour.Publiée tout d'abord en 1809, la Description de l'Egypte ou Recueil des observations et des recherches qui ont été faites en Egypte pendant l'expédition de l'armée française se divise en 4 grandes sections : l'Egypte Ancienne (antiquités), l'Egypte Moderne, l'Histoire Naturelle et la géographie.La seconde édition, dite de Panckoucke, de plus petit format, parut entre 1821 et 1829.La Description de l'Egypte ou Recueil des observations et des recherches qui ont été faites en Egypte pendant l'expédition de l'armée française CONSTITUE AUJOURD'HUI ENCORE UNE SOURCE DOCUMENTAIRE DE PREMIER ORDRE, nombre d'édifices représentés sur les planches ayant été complètement détruits par la suite. Atabey, 343 (1st edition) ; Brunet, II, 617. // ENGLISH // 24 volumes of text in 26 volumes in-8 and 11 volumes large in-folio of atlases (10 of plates and a geographical atlas).Half blue glazed calf, smooth spines with titles and tomaison in gilt letters, boards covered with blue marbled paper (binding by Tessier, binder and gilder to H.R.H. the Duke of Orleans, with his label on the upper fro.

Oblong folio (485 x 405 mm). Title-page and 62 engraved, hand-coloured etchings by A. Sanquirico (all on velin paper with watermark "J. Whatman, Turkey Mill"); tissue guards (watermark "FB") preserved throughout. Contemporary green boards with elaborate gilt neo-classical decoration. In same-coloured original slipcase. First edition of Sanquirico's synoptic collection of his work, complete in 62 plates, never sold in the regular book trade and presented by the artist only to the highest dignitaries. "La grandiosa collezione del Sanquirico, in fogli di grande formato, stampati e colorati con estrema cura, era evidentemente destinata a clienti 'facoltosi'" (Ferrero). In 1818 Sanquirico set out to publish all the theatre decorations he had executed. The inked and coloured series of etchings was completed in 1829. - Sanquirico is considered the best stage designer of his time. From 1817 to 1832 he was "scenografico unico" at the Milano "Scala", where he was much admired for his inexhaustible production of new creations. "He is a master of perspective, and a painter of the finest taste; capable of creating magical effects through colour and light. Every one of his decorations is possessed of a unique magic and rich versatility of invention. There was not an opera in which Sanquirico, apart from the celebrated singers, did not also celebrate his own triumph" (Nagler). "La sua attività coincise con uno dei periodi più interessante della lirica italiana, quando ai nomi ormai famosi di Mayr, Mozart e Meyerbeer si alternavano quelli di Rossini, Bellini, Donizetti e Pacini, e il balletto italiano trovava la sua nova espressione nelle pantomime eroiche" (Enc. dello Spettacolo). For this present album, Sanquirico used the best paper available, the strong velin made by the Turkey Mill on which James Audubon also printed his 'Birds of America' (cf. Bannon/Clark, Handbook of Audubon Prints, 35). The colouring is masterfully executed, showing exceptional brilliance. Hundreds of fine hues - in the tropical flora, in the precious costumes of the exotic peoples, in the luminescent pink clouds over the evening landscapes - lend these scenes a unique beauty and atmospheric splendour. - Immaculate, entirely spotless copy in the original boards as issued. Merely the matching slipcase shows traces of restoration, otherwise entirely untouched. - Removed from the library of the Dukes of Bavaria at Tegernsee castle. - Wurzbach XXVIII, 196. Nagler XVI, 135. Enc. dello Spettacolo VIII, 1483. M. V. Ferrero, La Scenografia della Scala nell'età neoclassica, Milan 1983, 91-140.

Folio (ca. 380 x 547 mm). 3 vols., including atlas. (22), CLI, (3), 279, (1) pp. (8), 339, (1) pp. Atlas has chromolithographed pictorial title, 48 engraved and 41 chromolithographed plates (numbered I-LXXXVI), 5 engraved plans, and 2 folding engraved maps. Contemporary marbled boards; modern spines with giltstamped labels. The rare first edition of this monumental work on the antiquities housed at the Hermitage Museum in St Petersburg, published at the personal expense of Emperor Nicolas I. The Tsar took a deep interest in Russian archaeological finds following the discovery of a Scythian burial mound near Kerch in 1830, and many of these discoveries are featured here. - A large number of the plates are magnificently lithographed in vivid colour after the drawings of Piccard and Solntzev. "Ouvrage imprimé avec une grande luxe. Le texte, en russe et en francais, est précédé d'une préface, signée du nom de M. Gilles, conservateur de l'Ermitage [.] Le nombre des exemplaires tirés n'est, dit-on, que de 200. Leur prix à Paris est de 400 fr." (Brunet). - The Swiss painter and engraver Piccard (1807-88) had studied in Paris and was active in Lausanne until the end of the 1830s. Long in Russia, he would return to Lausanne in 1869. Solntsev (1801-92) had already completed the massive six-volume album series "Antiquities of the Russian State" (1849-1853) and was one of the principal interior decorators of the Kremlin Palace. - Some foxing throughout, mainly concerning the margins and the first and last quires of the text volumes, but to some extent also the margins of the plates. Bindings professionally repaired. Removed from the Library of the Birmingham Assay Office, one of the four assay offices in the United Kingdom, with their inconspicuous library stamp to the flyleaves. Extremely rare: we can trace only one other copy at auction (2013, Sotheby's Paris, sale 1333, lot 532: EUR 59,100 - the duc de Luynes copy). - Brunet I, 321. Graesse I, 149f. Thieme/Becker XXVI, 579. OCLC 82476426.