histoire, Edition originale (Plus de 104 000 résultats)

Hardcover. Etat : Very Good. 1st Edition. "4 volumes of elephant broadsheets bound as oblong folios (28 x 21 3/4 in.; 55.3 x 71.1 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; titles and contents toned, moderate marginal dust-soiling on most plates, some finger soiling, plates 1, 62, 72, 73, 81 creased chiefly in upper lefthand corner, tape repairs to tiny tears along bottom margins of plates 112-113, small oil stains in gutters of about 13 plates, chiefly in the fourth volume. Contemporary quarter red morocco over brown marbled boards, spines gilt in six compartments lettered "Histoire Naturelle" in the second, numbered in the fourth, and monogrammed in the sixth; extremities rubbed; minor loss to head of spine (vol. 1), vol. 2 head of spine torn but present. 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: Gilt cypher in sixth spine compartment; J.R. Walsh (stamps on title-pages and contents leaves); Acquired from Nico Isreal, 1978; The Richard Harris Collection: Natural History and Colourplate Books (Bloomsbury, 13 October 2010, lot 3: $504,000).

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.

Small folio (287 x 377 mm). (6), 134, (24) pp. With 31 leaves o plates (sugar aquatints, etchings and drypoints). In unbound sheets as issued, stored in publisher's original cardboard covers, portfolio and slipcase (some slight wear to the latter). Two unique and wholly original brush drawings, adorning a signed and inscribed first edition of this famous suite by Picasso, in perfect condition. - Limited edition of 226 copies: this is number 155, one of 135 on Vidalon vélin. This copy was presented by Picasso to his friend, the painter André Marchand (1907-98), with an autograph inscription and two original drawings, each one full page. The two drawings are executed in Indian ink, pen and brush, heightened with black ink wash. They occupy the verso of the half-title bifolium and the first section title ("Le Cheval"). The first drawing shows a tomato plant in a pot, probably a reference to the still lifes for which Marchand was known. The second presents two different figures of a horse: in the upper half of the sheet, a white horse, seen in profile; in the lower half, a powerful horse's head, also in profile, against a stark dark background. Both are dated by the artist "7 August 44"; the first drawing also bears in the lower right-hand corner the signed dedication: "Pour André Marchand / Picasso". - In 1936 Ambroise Vollard commissioned illustrations by Picasso for the comte de Buffon s 18th century encyclopedia, "Histoire naturelle". The book was published in 1942 with Picasso s 31 prints. The delightful images of the animal kingdom, rendered with exquisite technique, must have surely brought joy to those who viewed it during the dark days of the war. Printed in a relatively small edition of 226, several copies went to friends with unique drawings such as these. - Includes an additional print of the "Mère poule" plate. Provenance: André Marchand; Jean A. Bonna (his bookplate to the portfolio's pastedown). With a certificate from Picasso's daughter Maya, dated 10 October 2002. - S. Goeppert, Picasso (1983), p. 104-107. The Artist and the Book, 231. OCLC 78845813.

Hardcover. Etat : Good. First. First edition. 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. Folio (20 3/8" x 14 3/8", 518mm x 366mm). [Full collation available.] With 220 hand-colored etched-engraved plates and a double-page hand-colored etched-engraved map. Bound in contemporary diced calf. On the covers, a fantastical gilt border with serpents and bees, boars and birds, blossoms and snails. On the spine, seven raised bands. Panels gilt. 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. Presented in red cloth clam-shell boxes with black morocco spine-labels gilt. Joints split with some little losses. Head- and tail-pieces perished, with the headband of vol. II only. A partially-closed gouge to the front board of vol. I. Fore-corners worn. Internally, mild foxing throughout, and some offsetting from the plates. Engraved armorial bookplate of Fane William Sharpe, "Student of Ch(rist) Ch(urch, Oxford)" to the front paste-down of each volume, with (his?) shelfmark in early ink manuscript above. A totally unsophisticated set from the collection of Clarence Dillon. 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. Fane William Sharpe (d. 1711) was Member of Parliament for Callington (Cornwall) 1756-1771. His father John, whose seat he took in 1756, was an agent in the West Indies; perhaps this is the source of the younger man's interest in the flora and fauna of this part of the Atlantic. The volumes come from the estate of Clarence Dillon, the Polish-born American titan of finance (he outbid J.P. Morgan for Dodge, and merged it with Chrysler). Dillon was a Francophile, whose name lives on in Domaine Clarence Dillon, which includes Château Haut Brion. His estate in Far Hills, Dunwalke, was sold by Princeton University in 2001. Dunthorne 72, Ellis/Mengel 476, Fine Bird Books 65, Great Flower Books 53, Hunt 486, Nissen BBI 336 and IVB 177.

12 parts in 6 volumes. Folio (18 x 10 6/8 inches). Half-titles. 12 title-pages with engraved vignettes, 432 EXCEPTIONALLY FINE engraved plates with original hand-colour, some HEIGHTENED IN GOLD, SILVER AND BRONZE to reflect the metallic sheen of fish scales. Contemporary tree calf with the arms of the Duchesse de Berry (the arms of France and Spain) stamped in gilt on each cover, all edges gilt (foot of spine of volume III chipped with minor loss, other extremities with minor scuffing). Provenance: with the supra libros of Maria Carolina Ferdinanda Luisa, the Duchesse de Berry (1798-1870) on each cover; Belgian Royal Library. "the finest illustrated work on fishes ever produced" (Nissen) THE DUCHESSE DE BERRY'S COPY of the first edition in French, published contemporaneously with the German edition. A FINE AND ATTRACTIVE, COMPLETE COPY OF BLOCH'S MONUMENTAL WORK. Bloch was a German medical doctor and naturalist. He is generally considered one of the most important ichthyologists of the 18th century and is best known for his encyclopedic work in ichthyology. The drawings were taken from Bloch's collection of some 1500 fish, the largest collection of its time, which he put together from purchases made at home and from returning travellers and missionaries from all over the world including Sir William Hamilton in Naples. ". the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produce the metallic sheen of fish scales" (Nissen). From the distinguished library of the Duchesse de Berry, daughter of the future King Francis I of the Two Sicilies and his first wife Maria Clementina of Austria. In 1816 she married Charles Ferdinand d'Artois, Duc de Berry, the heir to the French throne. Only the year before his uncle Louis XVII had been restored to the French throne, and on this death in 1824, the Duc's father became the last Bourbon monarch, as Charles X. tragically the Duc did not inherit the crown, but was assassinated at the Paris Opera in 1820. The Duc and Duchesse's only son, the Comte de Chambord, "the miracle baby" was born seven months after his father's murder and became the Legitimist Bourbon heir. During this period the Duchesse became patron to the world's greatest botanical artist Pierre-Joseph Redoute. Not only did she support him with the purchase of his celebrated 170 watercolours of 'Roses' on vellum, but she also obtained for him the post of 'maitre de Dessin' at the Museum of Natural History in 1824, even becoming one of his students. (Nissen) Nissen ZBI 416; Wood p. 244. Catalogued by Kate Hunter.

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. Paris: Levrault Freres (later Levrault, Schoell & Co.), 1801-1805 (illustrateur). 1st Edition. "2 volumes, folio (22 3/4 x 15 3/4 in.; 57.8 x 40 cm). 145 fine stipple-engraved plates after Jacques Barraband, printed in colors and finished by hand by Langlois under the direction of Bouquet, dedication leaf to B.G.E.L. Lacépède in vol. 1, half-titles and single-page indices in each volume; light, scattered or marginal foxing affecting about 15 plates, occasional light foxing to text margins, minor creases to plates 18 and 77, neat repair to marginal tear on pl. 116, WITHAL AN EXCEPTIONALLY BRIGHT AND CLEAN COPY. Contemporary half crimson straight-grain morocco, smooth spines lettered and ruled gilt; board edges a bit worn, top of lower covers of each volume lightly sunned. FIRST EDITION OF ONE OF THE MOST BEAUTIFUL FRENCH ORNITHOLOGICAL BOOKS, FROM THE CELEBRATED LIBRARY OF BERIAH BOTFIELD. Levaillant, one of France's greatest ornithologists, was born the son of the French consul in Paramarimbo, Dutch Guiana. Having studied natural history at Metz, he became one of the first of a new breed of naturalists who observed and recorded their subjects in their natural habitat. In 1781-1784, he collected specimens in South Africa on behalf of the Dutch East India Company. Jacques Barraband (1767/68-1809) worked for the Gobelin factory and was recognized as the best ornithological artist of his time owing to his attention to remarkably accurate detail and use of naturalistically textured color. Langlois' skillful engravings of Barraband's original watercolor and gouache drawings reproduce their delicate modulations of tone and color as well as their fine lines and flawless draftsmanship. "After he had made himself Emperor, it was part of Napoleon's deliberate policy to initiate a series of magnificent publications that would vie with those undertaken on the orders of Louis XIV. These were sent as presented to crowned heads, men of science, and learned bodies, in evidence of the splendours of the Empire The works of Levaillant owe their sumptuous character to this impetus. His Histoire naturelle des perroquets is, unwittingly, a part of the glories of Napoleonic France" (Fine Bird Books, p. 15). REFERENCES: Anker 303; Ayer/Zimmer p. 392; Fine Bird Books (1990), p. 118; Nissen IVB 558; Ronsil 1780 PROVENANCE: Highly Important Books from Beriah Botfield's Library (Christie's London, 30 March 1994, lot 77)".

10 volumes, folio (18 1/2 x 13 1/4 in.; 464 x 343 mm). 973 fine hand-colored plates drawn and engraved by François Nicolaus Martinet under the supervision of Edme Daubenton, text within decorative borders. Contemporary half red straight-grained morocco (extremities scuffed, bookplates removed from the front paste-downs). Provenance: George M. Pflaumer. "Ranks still as one of the most important of all bird books from the collector's point of view" (Fine Bird Books). First edition, large paper issue, bound as often found without the 35 extra plates of animals, insects, and reptiles designed to illustrate ornithological volumes of Buffon's monumental "Histoire naturelle generale" (1749-1804). Buffon was appointed keeper of the "Jardin du Roi", later the "Jardin des Plantes", and the collection connected with it, the "Cabinet du Roi" in 1739. He augmented the collection of birds exponentially, increasing it to more than 800 species gathered from all four corners of the globe. In 1765 at Buffon's direction, Martinet began drawing and painting the collection, and engraved the plates under the supervision of Edme Daubenton. In1770 the first volume devoted to birds was published: "Its popularity was primarily assured by Buffon's great literary ability which allowed him to present even the most difficult topics in such sparkling style, in such a universally understandable form, and so fascinating a manner that, as was said, even ladies found amusement in reading about them.the special merit of the work is principally due to the fact that. it was the first to create interest in Nature and natural history in wide circles" (Anker). Buffon's "Oiseaux." was ultimately issued in four formats: the large and ordinary paper folio sets were issued with hand-colored plates by and after Francois Martinet. Quarto and twelve-mo issues were also produced, illustrated with a series of black and white plates drawn by de Seve. Anker 76; "Fine Bird Books" 83; McGill/Wood 267; Nissen IVB 158; Zimmer 104-106. Catalogued by Kate Hunter.

4 volumes in 2, folio (20 1/4 x 13 in.; 51.4 x 33 cm). 140 stipple-engraved plates printed in color and finished by hand by Bouquet, Dien, Gabriel, Massard, Robert and others after Redouté, Poiteau, Turpin, and others (a few heightened with gum arabic in vol. 3), title-pages for vol. 1 in French and Latin, dedication to Louis XVIII in vol. 2; short closed tear in upper gutter pl 8 of vol. 1, pl. 24 of vol. 3 shaved at outer margin, some occasional faint spotting to plates and light foxing (chiefly marginal) to text and vol. 1 title-page, text leaves to plates 11-27 and terminal leaf browned in vol. 4, and plates in vol. 4 misbound (as 1-4; 6; 9; 5; 7-8; 10-37). Contemporary green morocco richly gilt by J. Wright, covers ruled with triple fillets and embellished with roll-tool borders incorporating grape, floral, pineapple, and acorn tools, the spines in 6 compartments gilt with floral tools and raised bands (one reserved for lettering), gilt dentelles, marbled endpapers, edges gilt. THE BOTFIELD COPY OF THIS EARLY FLORA OF THE WEST INDIES, FIRST EDITION. According to Brunet, only 150 copies of this lavish work were published in 32 fascicules. Relatively little is known of Tussac's early life, but as a botanist he travelled around the West Indies, visiting Santo Domingo and Martinique in 1786, Haiti and Jamaica in 1802. In Haiti he briefly became curator of a botanic garden before returning to France at the end of that year. Tussac's preface to this work gives a vivid account of his travels and adventures, as well as an account of Toussaint-Louverture's slave rebellion in Santo Domingo. Most of his drawings had been destroyed by fire during the rebellion, but he was able later to recreate them from his notes and collected specimens. REFERENCES: Brunet V:987; Nissen BBI 2017; Great Flower Books 78; Dunthorne 312; Stafleu & Cowan TL2 15:397 PROVENANCE: Beriah Botfield (his sale, Christie's London, 30 March 1994, lot 90; Christie's New York, 6 December 2013, lot 188; Sotheby's New York 18 December 2019, lot 203).

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.

Hardcover. Etat : Good. 1st Edition. A presente obra encontra-se em bom estado de conservação, contém manchas amareladas causadas pelo tempo e anotação a caneta na folha de rosto do volume 2. Na encadernação, há desgastes na capa e lombada. Formato: 15 x 22 Conservação da capa: Bom Estado Conservação do miolo: Bom Mess weight 8750g.

Half-Leather. Etat : Fine. Remainder of title: "Accompagné de descriptions par M. le Baron Cuvier, et M. A. de Chamisso, et d'observations sur les cranes humaines par M. le docteur Gall." Folio (16 x 10 inches): 2 letterpress title-pages dated 1820 and 1822, Dedication, list of subscribers and plates at end. Lithographic frontispiece portrait of Romanzoff and 104 hand-colored plates from drawings by the author, or after the author by Adam, Franquelin, Norblin Morlet and de Chamisso, folding map with route traced in color, 2 further maps on one leaf bound at end of volume (some spotting and browning). Contemporary French half red morocco, smooth spine gilt, marbled boards. "ONE OF THE VERY VALUABLE AND FUNDAMENTAL WORKS ON ALASKA, CALIFORNIA, AND THE HAWAIIAN ISLANDS" (Lada-Mocarski). VERY RARE FULLY COLORED COPY OF THE FIRST EDITION of Choris' splendid plates to illustrate Kotzebue's world voyage of 1815-1818 on which he was expedition artist. Essentially, this is an illustrated album recording only the most memorable facts of the voyage but with full explanations of the plates--more of which relate to California, Hawaii, Kamchatka and Alaska than any other work of the period--and the Philippines, Chile and Easter Island. It is arranged in 8 sections which were first sold in 22 livraisons, 1820-1822 (although both Brunet and Howes state that publication ended in 1823). Two title-pages were printed, dated 1820 to accompany the first livraison, and 1822 for the successive parts. There was only one issue of the text and plates, according to Forbes, and although a lithographic portrait of the artist is found in a few copies, its presence does not constitute an issue point. Indeed, it may have been produced only after the work was completed. The text was written and edited by J.B. Eyries and the list of subscribers accounts for 188 copies. Two variant plates are noted by bibliographers, both present here: plate II for the Sandwich Islands shows Kamehameha in a black robe, and plate XVI has been re-worked to include a lush background with the artist seated in the foreground watching dancers. Choris' manuscript text of the voyage was never published but his album is highly prized for its beauty and its historical record. Forbes writes that it contains "a final and very beautiful pictorial examination of the Hawaiian Islands and of Hawaiian culture as it existed prior to the death of Kamehameha I in 1819, and prior to the abolition of the 'kapu' or feudal system following the king's death." REFERENCES: Brunet I:1851 (calling for 110 plates); Forbes 541; Hill 290; Howes C-397; Lada-Mocarski 84; Peters California on Stone pp. 97-98; Sabin 12884; Streeter sale IV:2461. Book.

"2 volumes folio (22 3/4 x 15 3/4 in.; 57.8 x 40 cm). 145 fine stipple-engraved plates after Jacques Barraband, printed in colors and finished by hand by Langlois under the direction of Bouquet, dedication leaf to B.G.E.L. Lacépède in vol. 1, half-titles and single-page indices in each volume; light scattered foxing to text leaves for plates 64 and 70 and index leaf in vol. 1, negligible toning to plates 103 and 118, light marginal foxing on plates 116 and 128, small faint stain to lower inside corner of plate 103. Nineteenth-century salmon morocco paneled gilt with a double roll-tooled border of acanthus leaves, the spines richly gilt in compartments with slightly raised bands, lettered in the second, third, and final compartments (the last dated "1807" [sic]), marbled endpapers, edges gilt; the spines gently sunned, a few scrapes to board edges with minor loss. FIRST EDITION OF ONE OF THE MOST BEAUTIFUL FRENCH ORNITHOLOGICAL BOOKS, A BRIGHT, CRISP COPY IN A HANDSOME BINDING. Levaillant, one of France's greatest ornithologists, was born the son of the French consul in Paramarimbo, Dutch Guiana. Having studied natural history at Metz, he became one of the first of a new breed of naturalists who observed and recorded their subjects in their natural habitat. In 1781-1784, he collected specimens in South Africa on behalf of the Dutch East India Company. Jacques Barraband (1767/68-1809) worked for the Gobelin factory and was recognized as the best ornithological artist of his time owing to his attention to remarkably accurate detail and use of naturalistically textured color. Langlois' skillful engravings of Barraband's original watercolor and gouache drawings reproduce their delicate modulations of tone and color as well as their fine lines and flawless draftsmanship. "After he had made himself Emperor, it was part of Napoleon's deliberate policy to initiate a series of magnificent publications that would vie with those undertaken on the orders of Louis XIV. Theses were sent as presented to crowned heads, men of science, and learned bodies, in evidence of the splendours of the Empire The works of Levaillant owe their sumptuous character to this impetus. His Histoire naturelle des perroquets is, unwittingly, a part of the glories of Napoleonic France" (Fine Bird Books, p. 15). REFERENCES: Anker 303; Ayer/Zimmer p. 392; Fine Bird Books (1990), p. 118; Nissen IVB 558; Ronsil 1780".

2 volumes, folio (20 1/4 x 13 1/4 in.; 551.4 x 33.7 cm). 114 fine stipple engraved plates after Jacques Barraband by Bouquet, Grémilliet, and Perée, printed in color and finished by hand; half titles and indices in both volumes, errata leaf for both volumes at the end of vol. 2, this issue without the phrase "Libraire de S.A.I. le Prince Joseph" after Denné's name in the imprint; some marginal foxing to a few plates, scattered foxing or spotting affecting about a dozen plates, occasional foxing (chiefly marginal) to text. Fine contemporary diced Russia, paneled gilt, central gilt emblem of the arms of the Knight of Order of the Garter embellished with the armorial stag of the Earls of Dartmouth on an azured field, the spines in 7 compartments gilt, marbled endpapers, edges gilt; rebacked, preserving the original spines, hinges strengthened. FIRST EDITION OF LEVAILLANT'S SPECTACULAR WORK ON EXOTIC BIRDS. Until Gould, Levaillant was the unparalleled producer of the most comprehensive series of works on exotic birds (Fine Bird Books). The present work was originally issued in 19 parts between 1801 and 1806. The superb plates after Barraband effortlessly capture the striking, unique characteristics and rich coloring of each exotic bird species, featuring 24 birds of paradise; 15 rollers; 17 jays; 18 toucans, 24 barbets, 5 tamatias, 3 barbacous; and 8 jacamars. A pupil of Joseph Malaine, Barraband first worked as a draughtsman at the Gobelins tapestry factory and then as an artist for the Sèvres porcelain manufactory. But his work later in life for Levaillant undoubtedly marked the high point of his career and made abundantly clear why he was considered the best ornithological artist of his generation. FROM THE DISTINGUISHED LIBRARY OF THE EARLS OF DARTMOUTH, probably acquired by the 3rd Earl at the time his investiture as a Knight of the Order of the Garter in 1805. Dartmouth served as lord steward of the household from August 1802 and as lord chamberlain from May 1804. He was a trustee of the British Museum from 1802 to 1810. REFERENCES: Anker 304; Ayer/Zimmer p. 393; Fine Bird Books (1990), p. 118; C. Jackson, Dictionary of Bird Artists of the World (Woodbridge, 1999), p. 148; McGill/Wood p. 434; Nissen, IVB 559; Ronsil 1780 PROVENANCE: George Legge, 3rd Earl of Dartmouth (1755-1810, gilt supralibros); William Heneage Legge, 6th Earl of Dartmouth (1851-1936, early 20th century bookplate on front pastedown); A. J. Dearden (inscribed on bookplate and dated 1925 and on verso of front free endpaper of vol. 1).

4 volumes in 2, large folio (20 6/8 x 14 inches). Half-titles, title-pages for each volume in both French and Latin (spotted throughout, pages 29-80 in volume IV very browned). 137 of a possible 140 stipple-engraved plates printed in colours and finished by hand, by Bouquet, Dien, Gabriel, Massard and others after Dabnour, Poiteau, Pretre, P.J. Redoute and Turpin, including plates bis 25 in volume one, plates 2,4, 10 and 19 magnificent double-page plates, bis 1 in volume III (bound without plates 20, 31 and 32 from volume II as noted by Quaritch in 1976, some mostly marginal spotting throughout). Contemporary green paper boards, each spine with two red morocco lettering-pieces, all edges uncut (joints starting, extremities a bit worn). Provenance: with the green ink library stamp of the Society of St. Sulpicius at the end of both volumes, and on the title-page of volume III; Arpad Plesch, his sale Sotheby's 16th March 1976; Robert de Belder (1921-1995) and his wife Jelena de Belder-Koracic (1925-2003), horticulturists and proprietors of Arboretum Kalmthout, their sale Sotheby's 28th April 1987, lot 366 First edition, LARGE PAPER COPY, of which Brunet says: 'Il n'a ete tire que 150 exemplaires' (only 150 copies printed). The number of plates found in each copy varies: Dunthorne, Davy de Virille and Brunet mention 138 plates, Stafleu 137 of 140 plates. Regardless of the number, these magnificent coloured illustrations of the exotic flora of the West Indies are amongst the earliest published, and are surely the most sumptuous. When Europeans first arrived in the West Indies the islands were mostly covered by forest. Centuries of cultivation have altered that landscape considerably, but the islands remain rich in exotic native flora. The earliest botanical surveys of the islands were carried out by French and British naturalists, nearly two hundred years after the discovery of the Americas. These include the work of Plumier (1693, 1703, 1755-60) in the French colonies, and the work of Plukenet (1691), and Sloane (1696, 1707-1725) in the British colonies. Their publications are richly and superbly illustrated and depicted plants never before seen by the Europeans. Tussac was a French botanist born in Poitou, who moved to Martinique in 1786. "After some years collecting plants on Martinique, Tussac became curator of a botanic garden in Haiti. In 1802 he left Haiti and visited Jamaica before returning to France, where he later took up the directorship of the botanic garden at Angers (1816-1826). He published Flore des Antilles between 1808 and 1827 [as here]. Tussac made 2,000 drawings while in Martinique which were burnt in 1802 during the Haitian war of independence (his herbarium and manuscripts were saved, though the whereabouts of the latter is unknown). The tree fern Cyathea tussaccii (syn. Alsophila tussacii (Desv.) D.S. Conant) collected by Tussac was named after him by his son-in-law, Auguste Desvaux, also his successor at Angers" (Natural History Museum online). The plates are after the leading botanical artists of the time, such as Poiteau, Turpin, Pretre, Redoute and Risso. Dunthorne 312; Nissen 2017; Stafleu TL2 15.397. Catalogued by Kate Hunter.

FIRST EDITION OF THE MYSTERY PLAY MOUNTED IN ROUEN AT CHRISTMASTIME 1474 ON THIRTY-ONE TIMBER STAGES IN THE MARKET SQUARE. The primary platforms - all bearing signs - represented Paradise, Nazareth, Jerusalem, Bethlehem, Syria, Rome, Hell and Limbo. Over two days, seventy-eight amateur actors recited the 15,000 verses, livened by burlesque, violence, the sublime and some dozen musical interludes. "THIS PLAY.GIVES MORE DETAILED INSTRUCTIONS FOR PERFORMANCE THAN ANY OTHER" (Brown). It dictates actors' movements and positions, the painted backdrops and the type, color and location of fixed furniture. The elaborate stage machinery included an immense dragon's head (Hell) whose jaws opened and closed for the damned, serpents and flames shooting from its nostrils, eyes and ears. THE MYSTÈRE'S POSITION IN MUSIC HISTORY IS MOST REMARKABLE. "HERE IS THE EARLIEST DESCRIPTION I HAVE ENCOUNTERED THAT IS CERTAINLY OF VOICES AND INSTRUMENTS WORKING TOGETHER IN WHAT ARE CLEARLY POLYPHONIC CHANSONS" (Fallows). The printer left space for the musical notation to be supplied in manuscript. The layout of text and incipits confirms the music belonged to the chansonnier repertoire, while detailed performance notes indicate vocalists took their pitch from the instrumentalists and performed simultaneously with them in at least one three-part chanson. THIS IS THE ONLY ROUEN MYSTERY PLAY TO BE PRINTED IN THE 15TH CENTURY. It amused generations of illiterate townsfolk, farmers and traders, who paid their admission to participate in two days of "living history". The printer, however, gambled that the educated wealthy would buy this luxurious folio, enticed in part by marginal references to the sources underpinning the plot and dialog. Two other complete examples survive (BnF and La Vallière-Ste.-Genéviève; the Soleinne-Vienna copy lacks the first leaf). None has manuscript music. Active from about 1495 to 1499, Baptiste Bourguet's press is known from seven editions, six in unique examples (all in Paris). With one hundred twenty-four edition-sheets, that offered here is by far the most ambitious. Another one has seven, and the remaining five one sheet each. Both Claudin and the British Museum Catalogue favor Rouen as Bourguet's place of activity. In good condition (oil spots on nine leaves, slightly foxed, one bifolium more so); from the library of Ernest Daguin, who commissioned the binding (Catalogue 4e pte. (1905) 1291 "Livre des plus précieux" & pl. 51). ISTC im00884100; GW M25773; CIBN M-560; Claudin, Histoire de l'imprimerie en France au XVe.siècle II: 336-40 "fort précieux". Brown, Music in the French Secular Theater, 1400-1550 18, 42-53, 98; Douhet, Dictionnaire des Mystères 523-29; Fallows, "Specific Information on the Ensembles for Composed Polyphony, 1400-1474" in Studies in the Performance of Late Medieval Music ed. Borman 109-159; Ferrari et al., The Staging of Religious Drama in Europe 6-7, 80, 90, 92, 157-158; Frank, The Medieval French Drama 172-73 & 189-91; Handschin, "Das Weihnachts-Mysterium von Rouen" in Acta Musicologica 7 (1935) 97-110 (groundbreaking); Happé, Cyclic Form and the English Mystery Plays 165-66; Runnalls, Les Mystères français imprimés 8a & pp. 12-15, 31, 61-63; Soleinne, Bibliothèque dramatique (1844) 533 "Rarissime" (now ÖNB); Tydeman, The Medieval European Stage 9-12, 282-84, 291-92, 310-11, 320-21. Blind-ruled brown morocco over heavy boards (Francisque Cuzin; short crack at the top of the front hinge), gilt-lettered title on the front panel, old blue edges.

First edition, first state; 2 vols; folio (53 x 35 cm); half-titles, 145 etched plates after illustrations by Jacques Barraband printed in colour and finished by hand, table of contents to end of each vol., occasional light spotting, mostly to margins; contemporary burgundy straight-grained morocco gilt, upper and lower panels with wide gilt borders of palmettes, enclosing Meander roll in blind and inner gilt panel, gilt spine in 7 compartments, all edges gilt, minor restoration to corners and spine caps, each vol. housed in red cloth clamshell case with contrasting black calf lettering-pieces to spine. First edition in the preferred folio format of this celebrated work, which stands in the front rank of ornithological books. An excellent copy of Levaillant's celebrated Histoire Naturelle des Perroquets, illustrated with 145 hand-finished etched colour-plates after original drawings by the French artist Jacques Barraband (d.1809), often considered one of the most beautiful colour-plate books of Napoleonic France. This copy has the title of volume one in its first state, with the date An IX (1801). 'After he had made himself Emperor, it was part of Napoleon's deliberate policy to initiate a series of magnificent publications that would vie with those undertaken to the orders of Louis XIV. These were sent as presents to crowned heads, men of science, and learned bodies, in evidence of the splendours of the Empire. In this manner many glorious books came into being, and it is in this light that we should see Redouté's Les Liliacées and his two works on the flowers of La Malmaison. The works of Levaillant owe their sumptuous character to the same impetus' (Fine Bird Books). Levaillant (1753-1824) inherited a passion for observation and travel from his childhood in Dutch Guiana, where his father was the French consul. He returned to France with his family, where he eventually became a merchant of natural history specimens. At 27, he travelled to Southern Africa with the Dutch East India Company, likely sponsored by Jacob Temminck to collect specimens for his collection. Levaillant was among the first explorer-naturalists to venture into the field to see and study birds in their natural habitats, resulting in some of the finest ornithological works ever produced. He was also a pioneer of travel writing; his colourful accounts of his journeys describe him as wearing 'court suits of "Blue-Boy" silk, with white gloves, ostrich-plume hat, and lace ruffs' to show respect for the animals he hunted (Fine Bird Books). He writes extensively about his close relationships with African companions and condemns the Dutch for their violence against Indigenous people in the region. His work is also notable for his use of French descriptive names for birds such as La Perrouche à face bleue, as opposed to the standard binomial nomenclature introduced by Carl Linnaeus. The artist Jacques Barraband had honed his skills as a draughtsman at the renowned Gobelins tapestry manufacturer in Paris, allowing him to create illustrations unparalleled in their delicacy and beauty. His drawings for the present work were printed in colour by Langlois, the great master of French colour printing in the early 19th century. The names of three of the birds described commemorate the artists involved in the production of the plates: Barraband, Langlois, and Bouquet, who executed the engravings. Anker 303; Fine Bird Books p.90; Zimmer p.392.

couverture souple. - S.n., s.l. 1887, divers, 11 pages sur 7 feuillets pour les manuscrits + 4 feuillets pour la transcription. - | Uniques archives en mains privées du fondateur du libéralisme et de la science économique moderne | Exceptionnel ensemble d'archives manuscrites et imprimées - le dernier en mains privées - du fondateur du libéralisme et de la science économique moderne, Léon Walras, conservées et annotées par William Jaffé. L'un des 5 plus importants ensembles d'archives de celui que Schumpeter considérait comme le « plus grand de tous les économistes ». Cet ensemble de 42 documents d'importance, comprenant des manuscrits autographes complets, des épreuves corrigées, des tirés à part abondamment annotés, et des ouvrages imprimés enrichis, fut adressés par Aline Walras puis Gaston Leduc à William Jaffé qui ajouta sur certain ses notes autographes et établit grâce à eux la première traduction des Eléments d'Economie politique Pure. Léon Walras, inventeur de la théorie de l'équilibre économique, a en effet bouleversé la conception classique en imposant des équations mathématiques pour expliquer et influencer l'économie. Concomitamment avec Jevons et Menger, il fonde la théorie marginaliste, qui deviendra un pilier de la Science économique du XXeme siècle, comme le notait déjà à Milton Friedman, dans son essai consacré à Léon Walras à l'occasion de la traduction par Jaffé des Elements of Pure Economics : « it belongs on [any student's] "five foot shelf." [.] A person is not likely to be a good economist who does not have a firm command of Walrasian economics » (Milton Friedman) Malgré l'importance de la pensée de Léon Walras, les documents originaux, autographes ou imprimés du fondateur de l'Ecole de Lausanne, sont d'une extrême rareté, tant en mains privées, qu'en ventes publiques ou en institutions. *** PROVENANCE ET HISTOIRE DES ARCHIVES WALRAS Fondateur de la Science économique avec Stanley Jevons et Carl Menger, on lui attribue la paternité du Libéralisme, omettant généralement son engagement social et humaniste. La théorie de l'équilibre économique élaborée par Walras a en effet bouleversé la conception classique de l'Economie qui, depuis Smith, Riccardo et Marx fonde la valeur sur le travail nécessaire à la production et sur l'opposition des classes sociales. Malgré l'importance de la production de Léon Walras, les documents originaux, autographes ou imprimés de l'un des plus importants économistes de la fin du XIXème siècle sont d'une extrême rareté, tant en mains privées, qu'en ventes publiques ou en institutions. Cette extrême rareté a contribué à une méconnaissance du nom de Walras, cependant que les co-fondateurs de la théorie marginale, sont souvent présentés comme ses prédécesseurs. Or comme l'écrit l'historien de la pensée économique Mark Blaug : « La Théorie de l'économie politique de Jevons (1871) n'a pas été bien accueillie lors de sa parution, mais elle a été lue. Les Principes d'économie de Menger (1871) furent à la fois lus et bien accueillis, du moins dans son propre pays. Mais l'ouvrage en deux parties de Walras, Éléments d'économie pure (1844-1877), fut monstrueusement négligé partout. (.] Walras s'est fixé une tâche qui allait au-delà de Jevons et Menger, ses co-découvreurs de la théorie de l'utilité marginale, à savoir écrire et résoudre le premier modèle multi-équationnel d'équilibre général sur tous les marchés. De plus, Walras allait bien au-delà de Jevons en employant un mode d'exposition mathématique, ce qui suffisait à effrayer la plupart de ses lecteurs contemporains. Mais alors que Jevons et Menger sont désormais considérés comme des monuments historiques, rarement lus uniquement pour eux-mêmes, l'appréciation posthume de l' uvre monumentale de Walras s'est si nettement développée depuis les années 1930 qu'il est peut-être aujourd'hui l'économiste du XIXe siècle le plus lu après Ricardo et Marx, notamment depuis la traduction des Éléments en anglais en 1954. » (1) Ce n'est en effet que gr.

First edition. 'ONE OF THE GREAT BOOKS IN THE HISTORY OF BOTANICAL ILLUSTRATION' (HUNT) . First edition of "one of the great books in the history of botanical illustration, where all the technical resources of engraving were utilized in presenting the plants as accurately as possible" (Hunt), here accompanied by 5 additional engraved plates. "The idea had originated with Claude Perrault in 1667. When Dionys Dodart (1634-1707) was elected to the Académie in 1673, the proposal took definite shape, and at the end of 1675, the latter's Mémoires pour servir à l'Histoire des Plantes was published by the Royal Press. This volume, a large folio, was planned as the prelude to a vast work whose publication was delayed for many years. Its 39 plates were engraved from drawings by Nicolas Robert (1614-85), made for the most part from life; in the case of several rare plants he was obliged to adapt paintings which he had previously made on vellum at the Jardin du Roi . he was assisted, or perhaps directed, by the engraver Abraham Bosse (1602-76) . In the preface to Dodart's Mémoires the intention of the illustrations is clearly defined. Wherever possible, the plants were to be portrayed life-size; if larger, but not more than twice the size of the page, they would be represented as cut in two; if still larger, some detail would be given full-scale, so that the true size of the plant could be better appreciated. Moreover, all the technical resources of engraving were to be fully utilized. The preface continues: 'Since printing in colour is not employed yet, and since painters waste much time and are not always successful, we thought we could, in future, supply to some extent what was lacking in an engraving, by taking care to indicate, as far as is feasible, the depth of the colour. Thus a distinction would be made between brownish-green and pale green, between white and dark-coloured flowers .'" (Blunt, pp. 111-2). These techniques led to images of such remarkable beauty and quality that numerous authorities agree that Dodart's plates "rank among the best botanical engravings ever produced" (Bridson & Wendel). "The Mémoires contains a methodological introduction and a model showing how to conduct botanical research. Because of Dodart's recommendation of phytochemical analysis, this work marks a new step in botany" (DSB). The first part ('Projet de l'histoire des Plantes', pp. [1]-52) establishes the need for the work and the form of the descriptions and illustrations of the plants, and the second part ('Descriptions de quelques Plantes nouvelles', pp. 53-131) comprises descriptions by N. Marchant and illustrations after Nicholas Robert of 39 species 'dont la pluspart sont rares, & n'ont jamais esté ny décrites, ny figureés' (p. 53), in accordance with the structure proposed in the first part, describing the plants, their attributes, and the sources of the specimens. The frontispiece depicts a meeting of the Académiein the Royal Library at Versailles, with Louis XIV and Colbert in attendance. This is the first published illustration of an assemblyof a learned society. Of the five additional loose plates that accompany this copy, three appear in the work (those on Nn, Ooo [repeated on Ppp] and Qqq), but without the text on the verso. The two remaining plates of Tithymalus Americanus nodifloris and Aster Verbasci folio were apparently intended for the work and engraved by Louis de Châtillon. All are uncut. ABPC/RBH list 8 copies (of which 2 lacked the frontispiece). Provenance: Thomas Philip de Grey, 2nd Earl de Grey (1781-1859), known as The Lord Grantham from 1786 to 1833, Tory statesman and politician and first President of the Institute of British Architects in London (Wrest Park bookplate); acquired from Lucien Goldschmidt, 1964. Bookplate of Arthur & Charlotte Vershbow. Sold Christie's New York, 20 June 2013, lot 487. Christian Huygens was the first to propose that the newly-formed Académie des Sciences publish a natural history. It was to be universal and Baconian, and must study weight, temperature, color, magnetic attraction, the composition of elements, animal respiration, the development of metals, plants and bones. This proposal was in fact one of the reasons which convinced Jean-Baptiste Colbert and his ministers to found the Academy of Sciences. However, it was modified and became two separate projects, dealing with animals and plants. Claude Perrault, a close friend of Huygens, proposed in January 1667 that the Academy publish a natural history of plants. Perrault was inspired especially by Bauhin's Pinax (1623), which Nicolas Marchant had already begun to revise. Perrault identified two ways of organising this study: pure botany, which studies the history of plants through the study of the external characteristics and therapeutic properties of plants, an approach going back to Aristotle's Historia animalium; and natural philosophy which aims, following Theophrastus and Francis Bacon, to research the causes of the medical properties of plants, plant reproduction and plant nutrition. According to Perrault, this approach involves chemical analyses, observation of seeds and pollen under a microscope, experimentation and testing of certain contemporary theories on propagation and generation, including the study of whether the sap circulates in plants like blood in the human body. The Academy at first decided to concentrate on the species of Europe and the Near East, leaving the study of American flora to the Minime priest Charles Plumier. Perrault worried about the continued support of the crown, and decided that a more modest publication has a greater chance of success and should help persuade the government to fund more in-depth research which could lead to a more comprehensive work being published later. Perrault himself took on the project of producing a History of Animals, published the counterpart to the Mémoires des Plantes in 1671 and 1676, the Mémoires pour servir a l'Histoire naturelle des Animaux.

First edition. A complete set, comprising twenty-one 8vo and four 4to text volumes and 6 large folio plate volumes (53.5 x 36 cms and Atlas Hydropgraphique 66 x 50 cms). Text in original wrappers and atlases in contemporary green morocco-backed boards (Atlas Hydrographique bound later to match), the plate volumes with 6 engraved titles, portrait, and 576 engraved plates, some 261 of these hand-coloured, a splendid set. Comprising: DUMONT d'URVILLE, 'Histoire du voyage', 1830-33. 5 vols in 10, 8vo (each vol. in 2 parts). 'Atlas historique', 2 vols, with 2 engraved titles, lithographic portrait, list of plates, 8 maps, and 247 lithographic plates (of which 53 wholly or partly hand-coloured); 8 plates with short marginal tears repaired, occasional light foxing or old water-stains. LESSON & RICHARD, 'Botanie', comprising I: 'Essai d'une Flore de la Nouvelles Zelande', 1832; II: 'Sertum Astrolabianum', 1834. Atlas vol. with engraved title and 79 engraved plates (of which 7 in colour), list of plates at end; [bound after] 'Entomologie' atlas with engraved title and 12 hand-coloured engraved plates; 2 plates browned. BOISDUVAL, 'Entomologie', comprising I: 'Lepidopteres', 1832; II: 'Colepteres', 1835; [bound with] 'Botanie' (see above). 2 vols 8vo text. QUOY & GAIMARD, 'Zoologie', 1830-35. 4 text vols in 6, 8vo. Atlas: 2 vols, with engraved title, 7 pp. list of plates, 193 engraved plates (of which 186 wholly or partly printed in colours and/or hand-coloured); the unlisted mammals plate 21 bis on India paper with repairs to upper margin, plate 73, molluscs, repaired along the plate line, some light damp-staining. DUMONT d'URVILLE, 'Philologie', 1833-34. 2 vols. DUMONT d'URVILLE, 'Observations meteorologiques, hydrographiques [2 vols], et de physique', 1834, 1833. Together 4 vols 4to. Atlas Hydrographique with engraved title, 25 pp., 42 engraved maps, charts, and plans (of which 20 double-page), some showing 2 or more subjects, 3 coastal profiles with additional hand-colour; some light scattered foxing. Extremely rare and desirable set of the first edition of d'Urville's voyage in the Astrolabe. The zoology section was produced by Jean René Constant Quoy and Joseph Paul Gaimard. The 31 fine plates of birds are engraved, printed in colours, and often finished by hand. The artists included Prêtre, Prévost, and Oudart, widely regarded as some of the finest bird artists of their time. As well as the superb plates, 'the general indices in vol. iii are also of importance for the use of ornithological matter of the work in which a number of new species of birds are described' (Anker). This important voyage was one in a great series undertaken by the French government in the late eighteenth and early nineteenth centuries for scientific and political purposes. Led by Jules Dumont d'Urville, its intention 'was to gain additional information about the principal groups of islands in the Pacific and to augment the mass of scientific data acquired by Louis Duperrey. The Astrolabe sailed south, around the Cape of Good Hope, and arrived at Port Jackson. Proceeding to New Zealand, its coast, especially the southern part of Cook Strait, was surveyed with great care. Tonga and parts of the Fiji Archipeligo were explored, then New Britain, New Guinea, Amboina, Tasmania, Vanikoro, Guam and Java. The return home was by way of Mauritius and the Cape of Good Hope. Huge amounts of scientific materials were collected and published' (Hill). Anker, 410; BM (NH) II, p603; Borba de Moraes I, 273; Brunet II, 881; Ellis (Early Prints of New Zealand, 1978), p43; Ferguson 1341; Fine Bird Books p92; Hill 504; Nissen (BBI), 555; Nissen (IVB), 752; Nissen (ZBI), 1199; Ronsil 940; Whittell p216.

Finely hand-coloured copy of the 1766-1799 Netherlands edition (in French) of Buffon's justly famous Histoire naturelle, the complete first series, covering the formation of the earth, humans, mammalian quadrupeds and apes, reptiles and amphibians, birds, fishes and even minerals, also describing the royal collection of Louis XV. Buffon's work presents ''for the first time a complete survey of natural history in popular form'' (PMM). The present set, in the work s rarest and most expensive form, is exquisite. The subscription notices periodically mention copies printed on fine paper, but they do not mention hand-coloured copies. Landwehr, discussing the first Dutch-language edition (no. 46, by the same publisher) cites contemporary sources referring to four forms of publication: on regular paper, on large paper, with hand-coloured plates and (most expensive of all) with hand-coloured plates and vignettes.Buffon opens the first volume with an essay called "Théorie de la terre", where "for the first time he outlines a satisfactory account of the history of our globe and of its development as a fitting home for living things. In his view the earth had been originally part of the sun which was broken off by the impact of a comet. It gradually condensed from its gaseous state, and the forces shaping its continents and mountains are still active'' (PMM). From his exhaustive research for the Histoire naturelle des quadrupèdes, Buffon came to the conclusion that it was necessary to reintroduce the notion of family. Breaking with the spirit of his time, Buffon attempted to separate science from metaphysical and religious ideas. As a disciple of Locke he denied idealistic metaphysics, stating that mental abstractions can never become principles of either existence or real knowledge; these can come only as the results of sensation'' (DSB).Buffon did not believe in the fixity of species but proposed that nature is constantly changing. For instance, in the case of quadrupeds he stated that there were 38 basic types that degenerated over the centuries. According to Buffon, the monkey is a degenerated man, the ass a degenerated horse. His interest in the precise connection between groups of animals that are obviously related prompted Buffon to devote much attention to comparative anatomy in the Histoire naturelle. He also stressed the importance of the study of earth sciences for botany and zoology. "Life and animation, instead of being a metaphysical point in being, is a physical property of matter" (DSB). Buffon's views on the origin and development of species and the history of the earth show how he tried to describe natural phenomena by means of science, discarding metaphysical and religious explanations. "He was the first to create an autonomous science, free of any theological influence . [and] establish[ed] the intellectual framework within which most naturalists up to Darwin worked" (DSB).Buffon was assisted by the anatomist Louis Daubenton and others, and the final volumes were completed after his death under the direction of Comte de Lacépède.With the owner s name "Sir G[eorge]. Murray" (1772-1846) on the half-title of most volumes. He was a Scottish soldier from a noble family, who served in Flanders, the West Indies, Egypt and elsewhere, eventually becoming quarter master general of Wellington s staff in Spain and Portugal and reaching the rank of General. He was Knighted in 1813, held governorships of several colonies and the military college at Sandhurst, along with leading posts at the Colonial Office (where he helped establish the colony of Western Australia) and served from 1823 as a member of the British parliament. With the bookplate of the German entrepreneur and bibliophile Hans Dedi (1918-2016). Lacking a few half-titles (for example in the bird volumes 1 and 2), but otherwise in very good condition (most of the plates fine), with occasional stains and spots, a few tears and repairs, the binding also with some minor wear and repairs. A splendid copy of a seminal monument of natural history.l Landwehr, Coloured plates 45 (and 46, Dutch ed.); Nissen, ZBI, 678.

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

COMPRISING: Voyage de la Corvette l'Astrolabe Histoire du Voyage. Paris: J. Tastu, 1830-1833. 8 volumes: comprising 5 text volumes, 8vo., (215 x 133 mm), five half-titles and volume title-pages, 9 plates, 6 folding maps, occasional wood-engraved vignettes; and 3 Atlas volumes, large folio portfolios (530 x 360 mm) 8-page letterpress "Table explicative," otherwise lithographed or engraved throughout. 3 engraved vignette title-pages, lithographed portrait of Dumont d'Urville, 8 maps (one hand-colored, 7 double-page), 240 views (all called for), ethnographical portraits and plates (62 colored) after Louis-Auguste de Sainson, Édouard Paris and Bartélemy Lauvergne. The majority of the plates are after de Sainson (the expedition's official artist or "Dessinateur") and show ethnological artifacts and portraits, scenes from the daily life of indigenous peoples and views of ports and anchorages, including Sydney, Hobart, Cape Town and Saint Helena. Text volumes bound in contemporary blue paper boards, gilt; and Atlas in 20th-century blue half morocco folding cases to style, 6 original printed wrappers loosely inserted (worn, some marginal repairs). Jean Réné Constant QUOY & Joseph Paul GAIMARD. . Zoologie. Paris: 1830-1835-1833. 5 volumes in 8: comprising 6 text volumes, 8vo., (250 x 162 mm) six half-titles and title-pagess, 8 lithographic plates; 2 Atlas volumes, large folio portfolios (530 x 360 mm), 8pp. letterpress text, otherwise lithographed or engraved throughout. 2 engraved title-pages with vignettes, 192 numbered plates after de Sainson, Jean-Gabriel Prêtre, Nicolas Huet, Alphonse Prévost, Quoy, Antoine-Germain Bévalet and others. They include 28 plates of mammals, 31 birds, 12 fish (all called for, and including 6 coloured), 26 zoophytes (all coloured) and 95 of molluscs (including two extra, and all coloured) (some marginal dampstaining to plates). Text volumes bound in original printed boards, backed with 20th-century blue morocco, uncut and partly unopened; and Atlas volumes in uniform 20th century blue half morocco folding cases, 2 original board portfolios laid-in (worn). Provenance: Presentation inscription from Gaimard on the front free endpaper of volume one. Pierre Adolphe LESSON & Achille RICHARD. . Botanique. Paris: 1832-34. 2 volumes in 3: comprising 2 text volumes, 8vo., (246 x 166 mm) two half-titles and title-pages; and Atlas volume, folio portfolio (550 x 360 mm), one-page letterpress "table des planches," otherwise engraved throughout, engraved vignette title-page, 80 plates after Vauthier or Mme.E.Delile, by Dunaime, Mme. C. Noiret, Mme. Dondey and others. The Atlas volume also contains the 12 plates to accompany the "Entomologie" (see below). Text volumes bound in original printed boards backed with blue morocco, uncut and partly unopened; Atlas in 20th-century blue half morocco folding cases, original board portfolio laid in (worn). Jean Baptiste Aplhonse Déchouffour de BOISDUVAL. . Entomologie. Paris: 1832-1835. One volume in two, 8vo., (240 x 155 mm). 2 half-titles and title-pages. 12 engraved plates after Vauthier by Mougeot and others. The large-folio plates (550 x 360 mm) are laid in the Atlas portfolio for the "Botanique" section (see above). Original printed boards, backed with 20th-century blue morocco. J.S.C. DUMONT D'URVILLE. . Observations Nautiques, Météorologiques, Hydrographiques, et de Physique. Paris: Firmin Didot Frères for the Ministère de la Marine, 1833-34. 2 parts only (Physique and part II of Hydrographique, lacks remainder of text and Atlas volume). 8vo., (314 x 247 mm). Half-title and title-page. Original wrappers, 20th-century blue quarter morocco folding case. Provenance: Frank Sherwin Streeter (1918-2006) (Collection of Important Navigation, Pacific Voyages, Cartography and Science). EXTREMELY RARE AND DESIRABLE SET OF THE FIRST EDITION OF D'URVILLE'S VOYAGE IN THE ASTROLABE This important voyage was one in a great series undertaken by the French government in the lat.

Quarante-six volumes grand in-4 (le tome 5 des Poissons relié en 2 volumes). Reliure de l'époque en maroquin rouge, roulette dorée en encadrement des plats, dos à faux nerfs ornés, avec titres et tomaison en lettres dorées, roulette intérieure dorée, tranches dorées (le 46e volume en reliure pastiche). Le dernier volume concernant les cétacés n'a pas été relié dans cette même série, ainsi que les 6 planches et les 2 cartes du Supplément V. Nous les joignons à l'exemplaire. Quelques rousseurs et menus défauts, quelques erreurs de pagination et de numérotation dans les planches, quelques feuillets et planches brunis dans l'ensemble. Néanmoins bel exemplaire à grandes marges dans une élégante reliure en maroquin rouge de l'époque.De la Bibliothèque de Mr de Podenas avec son Ex-libris armoriéEDITION ORIGINALE DE CE CHEF-D'OEUVRE DES SCIENCES NATURELLES DU XVIIIe SIECLE, dont les planches ou figures sont principalement dues à Jacques de SEVE père et fils.Les volumes sont illustrés de deux portraits de Buffon, 1262 planches et 16 cartes et tableaux, Les planches sont presque toutes l'?uvre du peintre et dessinateur Jacques de Sève, ou de son fils Jacques Eustache de Sève, à l'exception de la planche du cheval dessinée par Oudry.Notre exemplaire comprend toutes les planches de la série des Poissons AVANT LA LETTRE : elles ne sont ni numérotées ni paginées ni légendées. Seuls apparaissent parfois les noms des dessinateur et sculpteur.Naturaliste et écrivain français, Georges Louis Leclerc, comte de Buffon (1707-1788), est l'auteur d'une monumentale Histoire naturelle, générale et particulière, publiée en 36 volumes in-4 entre 1749 et 1788, à laquelle collaborèrent notamment Louis-Jean-Marie Daubenton (1716-1800), Philibert Guéneau de Montbeliard (1720-1785) et l'abbé Gabriel Bexon (1748-1784). Divisée en sept parties, elle comprend : Histoire naturelle, générale et particulière, avec la description du Cabinet du Roi 1749-1767 (15 vol.), Histoire naturelle des oiseaux 1770-1783 (9 vol.), Histoire naturelle, générale et particulière Supplément (Théorie de la Terre, minéraux, animaux quadrupèdes) 1774-1789 (7 vol.), Histoire naturelle des minéraux. 1783-1788 (5 vol. ou 6 selon que les cartes sont reliées en un volume d'atlas ou pas), Histoire naturelle des quadrupèdes ovipares et des serpens 1788-1789 (2 vol.), Histoire naturelle des poissons 1798-1803 (5 vol.) et Histoire naturelle des cétacées 1804 (1 vol.).Seules les quatre premières parties sont l'?uvre de Buffon. Les trois dernières, parues après sa mort, sont dues à Bernard Germain Étienne de La Ville, comte de Lacepède (1756-1825).L'Histoire naturelle, générale et particulière, avec la description du Cabinet du Roy de Buffon connut un succès immense, presque aussi important que l'Encyclopédie de Diderot et d'Alembert qui parut simultanément. Elle est de nos jours considérée comme l'une des réalisations les plus abouties du projet des Lumières.PMM 198. // ENGLISH // Forty-six large volumes in-4 (volume 5 of Les Poissons bound in 2 volumes). Bound in red morocco, gilt border on the boards, spines with false nerves, with titles and tomaison in gilt, inner gilt border, gilt edges (the 46th volume in pastiche binding). The last volume concerning cetaceans has not been bound in this same series, as well as the 6 plates and 2 maps of Supplement V. We enclose them with the copy. Some foxing and minor defects, some pagination and numbering errors in the plates, some browned leaves and plates throughout. Nevertheless a fine copy with large margins in an elegant contemporary red morocco binding.From the Library of Mr de Podenas with his armorial bookplateFirst edition of this masterpiece of natural sciences of the 18th century, whose plates or figures are mainly due to Jacques de SEVE father and son.The volumes are illustrated with two portraits of Buffon, 1262 plates and 16 maps and tables. The plates are almost all the work of the painter and draughtsman Jacques de Sève, or of his son Jacq.

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.

First edition. Complete set in 10 volumes, comprising 6 volumes 4to text and 4 large folio atlas volumes, with 4 engraved titles and 376 engraved plates and maps, including portraits, views, and natural history plates, many hand-coloured. Comprising: DUPERREY, L.-I. Histoire du Voyage. [1826]. Text 4to (282 x 222mm), i-xlvi, 1-202 pp. (all published, title lacking as usual); folio atlas (485 x 313mm) with engraved title, 60 engraved plates, of which 59 hand-coloured, by Ambroise Tardieu after Duperrey, Lejeune and Chazal; title lightly foxed, a little spotting and browning. LESSON, R.P. & GARNOT, P. Zoologie. 1826-1830. 4 vols, comprising 3 vols 4to text (294 x 228mm) and one large folio atlas (487 x 334mm) in 27 parts. Text with half-titles and titles with engraved vignettes. Atlas with engraved title, small inserted letterpress Avis slip, 155 engraved plates of mammals, marsupials, birds, molluscs, reptiles, and insects, of which 153 hand-coloured, after Lesson, L. Prevost, Pretre, Guerin, Vauthier and others; 19 plates browned, two slightly damp-stained, title and two lightly soiled, title foxed, light browning and spotting. The plates include 37 of fish, 9 of mammals and marsupials, 44 of birds, 16 of molluscs, 5 of crustaceans, 22 of insects, and 7 of reptiles. DUMONT D'URVILLE; BRONGNIART, A. & BORY DE ST. VINCENT. Botanique. 1826-1829. 3 vols, comprising 2 vols 4to text in one (294 x 228mm) and large folio atlas (485 x 313 mm). Text: half-titles, titles with engraved vignettes. Atlas with engraved title, 106 engraved plates including 25 hand-coloured plates of seaweeds, by Barrois, Dusmenil, and others after P. Bessa, Borg de St. Vincent, and others; title foxed, plate I browned, some spotting to plate II. The work was apparently overseen by Dumont d'Urville: first volume on Cryptogamie by Bory de St. Vincent, the second on Phanerogamie by Bronginart. The coloured plates are all of sea-weeds (11 plates were omitted). DUPERREY, L.-I. Hydrographie. 1829. 2 vols, comprising one vol. 4to text (294 x 228mm) in 3 parts (Hydrographie, Hydrographie et Physique and Physique) and one vol. atlas (574 x 430 mm). Text with 9 plates (of which 6 folding). Atlas with engraved title, 12 leaves letterpress text, 49 engraved maps by Ambroise Tardieu after Duperray and others (of which 19 double-page), and 4 engraved plates of various native sailing vessels by Berard after Duperrey and others. A complete set of a work whose publication was never completed. One of the rarest and most beautiful of the Grands Voyages. Ornithologically, this was a very important voyage. René-Primevère Lesson and Prosper Garnot (who had to leave the ship at Sydney on account of illness), were medical officers but were entrusted with recording the zoology discovered on the expedition. Lesson recorded a number of bird species many for the first time. Of the 60 birds illustrated on 44 of the Atlas' 53 plates, 4 are from New Zealand. For a detailed account of the New Zealand birds found, see Notornis, 2016, Vol. 63: 173-175 (Ornithological Society of New Zealand). The voyage, led by Duperrey, concentrated on the exploration of the Pacific. The Coquille 'called at Brazil, the Falkland Islands, Concepcion, Callao, and Payta. The Pacific islands visited were the Tuamotu Archipelago, Tahiti and the Society Islands, Tonga, Rotuma, the Gilbert and Caroline Islands, and the Bismarck Archipelago. Australia was visited twice, and explorations made of New Zealand and of the Maoris were of particular significance. Vast quantities of ethnographic and scientific data, were collected, Before returning to Marseilles, Java, Mauritius, and Ascension were visited' (Hill, p90). The scientific data included much on the botany, including plates of seaweed, perhaps the earliest of their kind, and zoology. Anker 288; Borba de Moraes p276; Ferguson 941; Fine Bird Books p73; Hill p90; Hocken 42; Nissen (BBI), 560; IVB 280; ZBI 1210; Whittel p218.

Couverture rigide. - Poulet-Malassis et de Broise, Paris 1859, 11,5x18cm, relié. - | Envois de Baudelaire & Hugo : la tempétueuse rencontre littéraire de l'Albatros et de l'Homme Océan | Édition originale, dont il n'a été tiré que 500 exemplaires. Portrait de Théophile Gautier gravé à l'eau forte par Emile Thérond en frontisipice. Importante lettre préface de Victor Hugo. Reliure en plein maroquin rouge, dos à cinq nerfs sertis de filets noirs, date dorée en queue, gardes et contreplats de papier à la cuve, ex-libris baudelairien de Renée Cortot encollé sur la première garde, couvertures conservées, tête dorée. Pâles rousseurs affectant les premiers et derniers feuillets, bel exemplaire parfaitement établi. Rare envoi autographe signé de Charles Baudelaire?: «?à mon ami Paul Meurice. Ch. Baudelaire.?» Un billet d'ex-dono autographe de Victor Hugo adressé à Paul Meurice à été joint à cet exemplaire par nos soins et monté sur onglet. Ce billet, qui ne fut sans doute jamais utilisé, avait été cependant préparé, avec quelques autres, par Victor Hugo pour offrir à son ami un exemplaire de ses uvres publiées à Paris, pendant son exil. Si l'histoire ne permit pas à Hugo d'adresser cet ouvrage à Meurice, ce billet d'envoi, jusqu'à lors non utilisé, ne pouvait être, selon nous, plus justement associé. Cette exceptionnelle dédicace manuscrite de Charles Baudelaire à Paul Meurice, véritable frère de substitution de Victor Hugo, porte le témoignage d'une rencontre littéraire unique entre deux des plus importants poètes français, Hugo et Baudelaire. Paul Meurice fut en effet l'intermédiaire indispensable entre le poète condamné et son illustre pair exilé, car demander à Victor Hugo d'associer leurs noms à cette élégie de Théophile Gautier fut une des grandes audaces de Charles Baudelaire et n'aurait sans doute eu aucune chance de se réaliser sans le précieux concours de Paul Meurice. Nègre de Dumas, auteur de Fanfan la Tulipe et des adaptations théâtrales de Victor Hugo, George Sand, Alexandre Dumas ou Théophile Gautier, Paul Meurice fut un écrivain de talent qui se tint dans l'ombre des grands artistes de son temps. Sa relation unique avec Victor Hugo lui conféra cependant un rôle déterminant dans l'histoire littéraire. Plus qu'un ami, Paul se substitua, avec Auguste Vacquerie, aux frères décédés de Victor Hugo?: «?j'ai perdu mes deux frères ; lui et vous, vous et lui, vous les remplacez ; seulement j'étais le cadet ; je suis devenu l'aîné, voilà toute la différence.?» C'est à ce frère de c ur (dont il fut le témoin de mariage au côté d'Ingres et Dumas) que le poète en exil confia ses intérêts littéraires et financiers et c'est lui qu'il désignera, avec Auguste Vacquerie, comme exécuteur testamentaire. Après la mort du poète, Meurice fondera la maison Victor Hugo qui est, aujourd'hui encore, une des plus célèbres demeures-musées d'écrivain. En 1859, la maison de Paul est devenue l'antichambre parisienne du rocher anglo-normand de Victor Hugo, et Baudelaire s'adresse donc naturellement à cet ambassadeur officiel. Les deux hommes se connaissent assez peu mais partagent un ami commun, Théophile Gautier, avec lequel Meurice travailla dès 1842 à une adaptation de Falstaff. Il est donc l'intermédiaire idéal pour s'assurer la bienveillance de l'inaccessible Hugo. Baudelaire avait pourtant déjà brièvement rencontré Victor Hugo. à dix-neuf ans, il sollicita une entrevue avec le plus grand poète moderne, auquel il vouait un culte depuis l'enfance?: «?Je vous aime comme on aime un héros, un livre, comme on aime purement et sans intérêt toute belle chose.?». Déjà, il se rêvait en digne successeur, comme il lui avoue à demi-mot?: «?à dix-neuf ans eussiez-vous hésité à en écrire autant à [.] Chateaubriand par exemple?». Pour le jeune apprenti poète, Victor Hugo appartient au passé, et Baudelaire souhaitera rapidement s'affranchir de ce pesant modèle. Dès son premier ouvrage, Le Salon de 1845, l'iconoclaste Baudelaire éreinte son ancienne idole en déclarant la fin du.

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.

Hardcover. Etat : Near fine. First. BOUND FOR MARIE DE' MEDICI, QUEEN REGENT OF FRANCE. Paris: En la boutique de Nivelle. Chez Sebastien Cramoisy, 1617. First edition. Quarto (9 5/8" x 6 9/16", 244mm x 168mm). [Full collation available.] With two engraved full-page portraits by Gaultier. Bound in olive morocco, likely by Clovis Ève. On the boards, a triple gilt fillet border surrounding a semis of fleurs de lis, gilt. In the center, the heraldic achievement of Marie de' Medici, gilt (Olivier 2504, fer 2). In the corners, the crowned ciphers of Marie de' Medici, gilt (Olivier 2504, fer 4). On the spine, a double gilt fillet border surrounding a semis of fleurs de lis, gilt. Title gilt between double gilt fillets. Crowned cipher of Marie de' Medici at center, gilt. Dashed gilt rolls to the head- and tail-pieces as well as to the edges of the boards. Marbled end-papers. All edges gilt. Spine sunned. Some scuffing generally, but altogether an exceptionally solid and unsophisticated copy (A2-4 on new guards). Text-block ruled in russet throughout. Excellent margins. A few pencil marginalia (X's generally). The occasional spot, with some inkstains on the title-page. Hexagonal monogrammatic bookplate of Jean Bonna to the front paste-down. Label of Adolphe Bordes on the recto on the final blank. Louis IX of France (1214-1270) was later canonized as Saint Louis for his zealotry; his reign is a peak of the French middle ages. At the age of 12, Louis became king after the death of his father, and his mother, Blanche of Castile, was regent until he came of age in 1234. Louis died in Tunis during a crusade, and in 1297, Pope Boniface proclaimed him a saint. This extraordinary arc was described in 1309 by Jean de Joinville. Why, then, was a new edition brought forth some three centuries later? Claude Ménard found in Laval a previously unpublished manuscript of Joinville's life of St. Louis, along with several Latin texts related to the process of his canonization. He consequently brought out a much-improved edition. Ménard's endeavors on the subject were not, however, coincidental. With the death of Henry IV his son Louis became king at the age of 8. Henry's widow, Marie de' Medici (1575-1642) served as her son's regent until 1614. The mirroring of the early years of Louis IX can hardly be ignored (indeed, the portraits of Louis IX and XIII literally face one another), and so with hope of a second golden age under a beloved boy-king, Ménard dedicated the work to his namesake. Florentine Marie was never fully accepted by the French aristocracy. She kept her own cadre of Italians at court, and was in turn viewed with suspicion as a bourgeois foreigner. By the age of 15, Louis XIII had consolidated enough power to shake of the maternal yoke, and with the "coup de majesté" banished Marie from court (under house-arrest at Blois) in April of 1617. Clovis Ève (ca. 1565-1635) followed his father Nicolas as relieur du roi (royal bookbinder), and is best known for these bindings "à semis" (or semées) viz. gridded with fleurs-de-lis and interspersed with the monograms and arms of their owners. The fate of all royal material hinges, notionally, on the French Revolution. Adolphe Bordes compiled a library with a special interest in French religious texts and heraldry and wrote on his booklabel that he acquired the volume from the library of William Beckford. This is lot 1190 in the second portion of his legendary 1882 Sotheby's sale. The book then came to be owned by Jacques Guérin, in whose Hôtel Drouot sale (7 June 1990) the present copy was lot 29. Guérin was one of the great twentieth-century French bibliophiles, and is best known as a collector of Proust (he owned the manuscripts of À la recherche du temps perdu). Its final owner before its acquisition (his sale, Christie's London, 15 June 2015, lot 101) was Jean Bonna, the renowned collector of early French first editions (especially illustrated), and he had a nonpareil collection of them. Olivier 2504 (binding).

Hardcover. Etat : Very good. First. First folio edition. Amsterdam: J.F. Bernard, 1730. Folio (20 1/8"x 13 15/16", 337mm x 511mm). [Full collation available.] With 184 hand-colored engraved plates on 94 leaves (4 with a single plate, 90 with two), numbered (single plates indicated with an asterisk): [1*] (general title-page), 1.I, 2.I, II-L*, 1.LI, 2.LI, LII-C*, CI-CLXIX CLXXI CLXXIII-CLXXXIV*. Bound in contemporary half speckled calf over speckled boards (re-backed, with the original back-strip laid down). On the spine, five raised bands. Title gilt to the second panel. Re-backed, with the original back-strip laid down. Scuffed generally and worn at the edges, with some skinning. End-papers creased, with the front end-papers laid in loose. The odd spot of foxing, but internally quite a good copy. Minor worming to the lower margin from the half-title (Ï 1) through D2. Pigment oxidation to the verso of most plates. Bookplate of Bob Luza to the front free end-paper. Maria Sibylla Merian (1647-1717) came from a distinguished Swiss-German family; her father was Matthäus Merian and her grandfather Johann Theodor de Bry. In 1685, Merian moved with her two daughters and her mother into a Labadist community at Waltha Castle. She was so inspired by the Wunderkammer of Cornelis van Sommelsdijck, who had been governor of Surinam (Dutch Guiana or Suriname), at the castle, that she sailed for South America with her younger daughter Dorothea. There she studied, drew and collected specimens for nearly two years, focusing intently on the metamorphoses of insects there. Indeed, metamorphic insects were the principle subject of her lifelong study and publication, even before her time in Surinam; the first edition of the first part of the present work (with only European insects) was published in German in Nuremberg in 1679 as Der Raupen. It was issued in Dutch 1713-1714 as Der Rupsen. with the addition of a second part. Merian suffered a stroke in 1715 but completed the work with its third part, aided by her daughter Dorothea Maria Graff and incorporating additional material from Surinam sent by her elder daughter Johanna Helena Herolt, which was published in 1718 (after Merian's death) as the Erucarum ortus in three parts, with 150 plates in total. The work was translated into French by Jean Marret in 1730 as Histoire des insectes de l'Europe -- it now being necessary to distinguish Merian's European work from her South American. That 1730 edition was published in folio (with the same small plates, usually 2 or 4 to a page) with, according to Nissen, a total of 186 plates, including "18 nouvelles planches, dessinées par la même dame" and also in Dutch -- as the present item. Nissen disregards that two numbers, CLXX and CLXXII, are not independent plates, bringing the total plate-count to 184 (as Landwehr confirms). Four of those plates are title-wreaths (the first part-title being used as a general title, then pll. 1.LI, CI and CLXXI as the remaining three). The numbers are a little difficult to square; the fourth part, whose plates are rather larger -- ca. 203mm x 146mm -- than those of the original three parts -- ca. 154mm x 121mm, adds 31 plates (title + 30) and not 18. Bob Luza (1893-1980) was a Jewish physician in Amsterdam who amassed a large library, notably emblem books and other illustrated material. His large library was disbursed in a two-day sale by van Gendt in 1981. Cf. Hunt 483; Landwehr, Dutch Books 136 (46 leaves of plates, viz. 4 plates per leaf); Nissen, BBI 1342.