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A magnificent portolan atlas signed by a member of the leading family of chart-makers of the Mediterranean Portolan atlas (510 by 340mm) comprising of 10 manuscript charts on vellum (six double page and four single page) pasted on thick card, coloured in ink wash and gouache throughout and heightened in gold, lavish decorative motifs on compass roses, scale bars, armorial shields and name cartouches, each chart within a simple yellow border, the outlines in sepia, main islands in gold, the rest in red, blue, green, coastlines red, blue, green and pink, rivers in blue, main names in red and the rest in brown ink, rhumblines in sepia, red and green; some typical signs of wear, particularly on the borders, resulting in some tears and losses which in some cases have been reinstated; owner label pasted to upper marbled paper pastedown, contemporary vellum binding. The portolan chart originated in thirteenth century Italy, as an aid to the pilots navigating their way across the often treacherous Mediterranean Sea. They are characterized by rhumb lines, lines that radiate from the centre in the direction of, often elaborate, wind or compass points that were used by pilots to lay courses from harbour to harbour. Generally drawn on vellum and often embellished in silver and gold, they were, at their height during the fifteenth, sixteenth, and seventeenth centuries, some of the most beautiful examples of the mapmaker's art ever produced. The current portolan was drawn by Franciscus Oliva of Marseille. The earliest work signed by Franciscus Oliva is dated 1650, although there is a 1643 atlas signed by a Franciscus Caloiro Oliva which bears many stylistic similarities with Franciscus's later work. Franciscus's last known signed chart is dated 1664, and there are a number of unsigned works which are undoubtedly attributed to him, attesting to a highly productive workshop (Astengo). 1. Eastern Mediterranean The chart stretches from Greece and its archipelago, to include Turkey, the Holy Land, Egypt and part of Libya. All blank areas inland are filled with highly embellished elements: ten large and small compass roses, cartouches for the author's signature and for Africa and Asia, two scale bars topped by an urn motif, four crowned armorial shields of the Ottoman Empire, three crosses for the Calvary, a seated camel, four palm trees. 2. Central Mediterranean with Italy The chart is centred on Sicily and includes Italy, Corsica, Sardinia, the northern coast of Africa, part of Greece and the entire Adriatic coast. In Africa there are three palm trees, an ostrich, a camel, and an armorial shield of the crescent moon. There are nine large and small compass roses, a scale bar on each page and cartouches naming Africa, Barbaria, and Europa. Malta is coloured red with a black cross to indicate the Order of Saint John. 3. Western Europe The chart shows Spain and part of France, each with their armorial shields, the Balearics, part of northern Algeria and Morocco. Cartouches for Barbaria, Africa and Europa, a banderole for Spagnia; France is simply capitalised in red. There are nine large and small compass roses, two scale bars, a crowned armorial shield of the Ottoman Empire and three conjoined palm trees. Majorca is coloured in red and gold to indicate the flag of Aragon. 4. Malta and part of Gozo The coastline is well delineated, however the wealth of the information is contained inland: the road network is mapped, including both main roads and secondary ones, with the city of Medina, also know as the Citta Vecchia, in the centre. Also marked are forts, the salt lake and the water spring. 5. The Balearics A single page chart showing the islands of Ibiza, Majorca, Minorca, Formentera and Cabrera, with two compass roses and a scale bar. The islands are coloured in green and show the mountain ranges. A pier stretching out from today's Palma indicates a safe port, and soundings and achorages around the islands are marked. 6. Sicily Large chart of Sicily, oriented with north at the bottom. Palermo and Messina are drawn including the city walls and forts, and are topped by gilt crosses, as well as Monreale near Palermo. Messina, Siracusa, Catania, Patti and Cefalu are topped by gilt croziers, as well as Rigio (Reggio Calabria) in the mainland, and Lipari. Mugibello, today's Etna, is depicted erupting, as well as the eponymous Vulcano, near Lipari. 7. Corsica and Sardinia The chart shows the islands of Corsica and Sardinia, each with their heralds, Sardinia as belonging to Spain, and Corsica to the Republic of Genoa. 8. Cyprus Large scale chart of Cyprus, with the crescent moon shield within the island. The rivers and mountain ranges are shown, as well as soundings and anchorages. 9. Crete Large map of Crete, including the islands around. The cities are named and drawn, and the rivers and mountain ranges represented. 10. General map of the Mediterranean Index map of the entire Mediterranean, stretching from the Atlantic to the Black Sea and showing the coastal outlines of Portugal, Spain, France, Italy, the Adriatic, Greece, Turkey, the Holy Land, North Africa and the islands. The map is drawn within a graticule of parallels and meridians in a cylindrical projection, and bears no toponyms but shows rivers and all the islands. Provenance: Ex Libris Gertrude Hamilton (1887-1961), with the Hamilton family motto 'Viridis et Fructifera' under an oak tree. Gertrude was the great-great-granddaughter of Alexander Hamilton. Corradino Astengo, 'The Renaissance Chart Tradition in the Mediterranean', in David Woodward (ed.), The History of Cartography, Volume 3 Part 1, pp.232-233; Richard L. Pflederer, Census of Portolan Charts & Atlases, (privately published, 2009); Pflederer, Finding Their Way at Sea: The Story of Portolan Charts, the Cartographers who Drew Them and the Mariners who Sailed by Them, (Houten: Hes & De Graaf, 2012).

The fourth folio, the last of the 17th-century editions of Shakespeare's works and the most grandly produced, this issue with the imprint naming Joseph Knight and Francis Saunders, the booksellers to whom Herringman had entrusted his retail business. There were three issues, with slightly different imprints. John Macock printed the title page for Herringman's copies, "to be sold by Joseph Knight and Francis Saunders". Robert Roberts printed the title pages for the other issues from a single type setting, with either three or four booksellers named. There is no known precedence among the three issues, but Macock's title is much the rarer of the two settings; the online Shakespeare Census locates thirty-five extant copies, only five in private hands. The 1623 first folio, edited by John Heminge and Henry Condell, contained thirty-six plays, to which seven plays were added in 1664 by Philip Chetwin for the second issue of the third folio, of which only Pericles is in part the authentic work of Shakespeare. This fourth folio was a straight reprint of the second issue of the third folio, issued by Henry Herringman in conjunction with other booksellers, part of Herringman's larger project of publishing pre-Restoration playwrights in folio. The Shakespeare volume was the centrepiece of Herringman's trio completed by the Beaumont and Fletcher folio of 1679 and the Ben Jonson folio of 1692. The most immediately striking aspect of the fourth folio is its height: Herringman used a larger paper size to increase the number of lines per page and decrease the bulk of the book. Although this is the only edition in which each play does not start on a fresh page, it is in a larger font and more liberally spaced than the three earlier editions. (The two pages of sig. L1 are set in smaller type, presumably after the discovery that some text had been omitted.) The text was set from a copy of the third folio divided into three portions and sent to three different London printers. The Comedies were printed by Robert Roberts, the Histories and first four Tragedies by Robert Everingham, and the remaining Tragedies by Everingham's former master printer, John Macock; the three parts are separately paginated. The fourth folio remained the favoured edition among collectors until the mid-18th century, when Samuel Johnson and Edward Capell argued for the primacy of the first folio text. In common with the third, the fourth folio dropped the final "e" from Shakespeare's name, a spelling that persisted until the beginning of the 19th century. Bartlett 123; Gregg III, p. 1121; Jaggard, p. 497; Pforzheimer 910; Wing S-2915. Folio (360 x 232 mm). Eighteenth-century blind-panelled reversed calf, red morocco label, red edges. Engraved portrait by Martin Droeshout above the verses To the Reader on verso of the first leaf, double column text within typographical rules, woodcut initials. Joints and front inner hinge neatly repaired, frontispiece leaf neatly restored at lower outer corner and at inner margin, engraved and printed area untouched, last leaf backed, a few minor blemishes, sig. O4 with two small paper repairs in upper margin, small paper repair to outer margin of 2L2, spill-burn causing small hole in 2M2 touching two letters either side, 3B3 restored at lower corner with small portion of frame supplied in pen facsimile, small paper repair at lower margin of 3C3, a little tight in the gutter but otherwise generous margins, generally clean and fresh, a very good copy.

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

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

Couverture rigide. Etat : Très bon. Amsterdam, Pierre Goos, 1662.4 parties en 1 volume in-folio de (1) f., (20) ff. pour l'Instruction en l'art de la Navigation avec volvelles gravées sur bois, 128 pp. chiffrées par erreur 228 et 33 cartes sur double-page. Vélin ivoire de l'époque, qq. mouillures et rousseurs éparses. Reliure de l'époque.446 x 284 mm. --- Edition originale française extrêmement rare du plus bel atlas maritime hollandais du XVIIe siècle.Koeman, IV, Goos 40.Elle est illustrée d'un frontispice et de 33 très belles cartes sur double page, en coloris d'époque.La composition de l'édition française diffère totalement de celles publiées en anglais ou hollandais.Elle comprend des cartes de Grande-Bretagne, des Pays-Bas, de Belgique, de France, d'Espagne, du Portugal et des côtes du Maroc avec les Canaries.Le texte indique les itinéraires maritimes à suivre et les dangers à éviter.Le cartographe Pieter Goos (1615-1675) était l'un des libraires les plus estimés d'Amsterdam qui s'était spécialisé dans les ouvrages maritimes. Jouissant d'une bonne réputation de graveur de cartes de navigation, il publiait également des atlas. Son intention était davantage de produire des volumes somptueux destinés à de riches collectionneurs plutôt que des ouvrages fonctionnels pour les marins et navigateurs.« Pieter Goos was one of the best known maritime booksellers of Amsterdam. This beautiful sea atlas reflects a high professional standard. The many editions published over 25 years are an indication of the customers' appreciation. Goos's sea atlas was more intended for the book-lover than for the seaman" (Koeman)."Dutch cartographer Pieter Goos (c. 1616-1675) was one of the most prominent engravers of navigational maps during the 17th century. His maps are considered some of the most beautiful of the era, a time when the Dutch dominated both shipping and cartography" (Moreland, C. & Bannister, D., 1986).L'illustration se compose d'un titre-frontispice et de 33 cartes fin /// Amsterdam, Pierre Goos, 1662.4 parts in 1 folio volume [446 x 284 mm] of (1) l., (20) ll. for the Instruction en l'art de la Navigation with woodcut volvelles, 128 pp. misnumbered 228 and et 33 maps on double-page. Contemporary ivory vellum, a few scattered waterstains and foxing. Contemporary binding. --- Extremely rare first French edition of the most beautiful 17th century Dutch sea atlas.Koeman, IV, Goos 40.It is illustrated with a frontispiece and 33 very beautiful double-page maps, in contemporary coloring.The composition of the French edition completely differs from those published in English or Dutch.It includes maps of Great Britain, the Netherlands, Belgium, France, Spain, Portugal and the coasts of Morocco with the Canaries.The text indicates the maritime routes to be followed and the dangers to avoid.The cartographer Pieter Goos (1615-1675) was one of Amsterdam's most esteemed booksellers who specialized in maritime works. Possessing a good reputation as a navigational map engraver, he also published atlases. His intention was more to produce sumptuous volumes intended for rich collectors rather than functional works for sailors and navigators.« Pieter Goos was one of the best known maritime booksellers of Amsterdam. This beautiful sea atlas reflects a high professional standard. The many editions published over 25 years are an indication of the customers' appreciation. Goos's sea atlas was more intended for the book-lover than for the seaman" (Koeman)."Dutch cartographer Pieter Goos (c. 1616-1675) was one of the most prominent engravers of navigational maps during the 17th century. His maps are considered some of the most beautiful of the era, a time when the Dutch dominated both shipping and cartography" (Moreland, C. & Bannister, D., 1986).The illustration is composed of a frontispiece and 33 maps finely engraved on double-page representing the coasts of all the parts of the globe.The frontispiece, the contours of the maps and the cartouches.

4to (150 x 208 mm). 70 ff. (numbered 3-71 and 74) of hand-drawn costumes. India ink and gouache heightened in silver and gilt on laid, watermarked paper, polished in the oriental style. Bound in full modern fawn calf signed by J. E. Baudrillart, covers ruled in blind, spine sparsely gilt with title. Top edge gilt. Marbled endpapers. A beautifully crafted album comprising seventy portraits painted by a Turkish artist in colours, gold and silver, illustrating the various offices at the Ottoman court, people of various occupations, different ethnic groups, and their traditional costumes. Most of the portraits are accompanied by captions inscribed in Osmanli at the bottom of the page. One of them, representing Sultan Mehmet IV (1642-93, ruled 1648-87) on his throne, has in the lower part an inscription in French, "Mehemet Grand Seigneur / 1660" (no. 67). Among the further subjects depicted are Janissaries, a porter (hamal), a davul player, messengers of the court, the bearer of the Sultan's sword, women adorned in various costumes, and foreigners. - Albums of this kind were known as muraqqa': compiled from various sources, they were often created to order, by or for Europeans, as gifts to members of Western embassies or as travel souvenirs. European courts appreciated them as valuable sources of diplomatic information. Several similar examples from the second half of the 17th century have survived, among which one of the most famous is the so-called Rålamb Dräktboken (Raland Book of Costumes), acquired in 1657/58 by Claes Ralamb, the Swedish ambassador to the Sublime Porte, and now kept at the Royal Library of Sweden. - A magnificent survival, handsomely bound by Jean-Eudes Baudrillart of Paris. - F. Hitzel (ed.), Turkophilia révélée. L'art ottoman dans les collections privées. Catalogue d exposition publié à l occasion du 14e congrès international d art Turc, Collège de France (Galerie Charpentier), 19-23 Sept. 2011, pp. 72f.

Etat : Très bon. Oblong de 37 x 26,5 cm, vélin souple à recouvrement de l'époque, dos lisse avec inscription manuscrite «Dauphiné», double encadrement des plats de simples et doubles filets dorés, fer ovale ornementé de motifs floraux poussé au centre des plats, tranches dorées.2 ff. nch, 45 cartes manuscrites:1. Carte Generalle de dauphine2. Gouvernem' de Cisteron3. Plan de Cisteron4. Gouvernemen de la Principauté dorange5. Plan de la Ville & Citadelle dorange6. Gouvern' d'avignon7. Gouverneme' du St Esprit8. Plan de la Ville & Citadelle du Pont St Esprit9. Gouvern' de Turin10. Plan de la Ville & Citadelle de Turin11. Gouvernem' de Casal & de Trin12. Plan de Cazal13. Plan de la Ville & Citadelle de Trin14. Gouverne' de Milan15. Plan de la Citadelle de Milan16. Gouvernement d'embrun17. Plan d'ambrun18. Gouvernement de Puimore19. Plan de Puimore20. Gouvernem' du Pas de Lescluze21. Plan du Pas de Lescluze22. Gouvern' de Montlimar23. Plan de Montlimar24. Gouverneme' de Pignerol & de Briqueiras & la Perouze fort stebregide25. Plan de Pignerol26. Plan du fort Saincte Bregide27. Plan du Fort de la Perouze28. Plan de la Ville & chau' [château] de Briqueiras29. Gouvern' de Valance30. Plan de Valance31. Gouverne' du Chasteau dèxille & Gelasse32. Carte Particulliere des Environs de Suze33. Plan du Chasteau dexille34. Plan du fort de Gelasse35. Gouvern' de Grenoble36. Plan de la Ville & Citadelle de Grenoble37. Gouvernement du Fort de Baraus & Montmelian 38. Plan du Fort de Barrault39. Plan de la Ville & Citadelle de Montmelian40. Gouverne' de Quirieu41. Plan de Quirieu42. Gouverneme' de Bourg en Bresse43. Plan de la Ville & Citadelle de Bourg en Bresse44. Gouvern' de Genesue [Genève]45. Plan de la Ville & Citadelle de Genesue [Genève]La cartographie du territoire français a été un enjeu primordial à l'époque moderne comme en témoigne le géographe Nicolas de Nicollay pour qui elle devait permettre au souverain «sans grande peine de voir à l'?il et toucher du doigt»[1] le royaume dans toute son étendue et sa diversité. Carrefour des Alpes et de l'Europe méridionale, la province du Dauphiné, conquise après de hautes luttes par les français, est un territoire stratégique dont la géographie montagneuse est un défi non seulement pour la cartographie, la politique mais aussi la pratique des arts de la guerre. Cet atlas manuscrit militaire, d'une très grande rareté, cartographie cette zone dans son entièreté et représente aussi son voisinage proche de la confédération des treize cantons en passant par les Duchés de Savoie et du Milanais. Outre son intérêt géographique et administratif, la vocation guerrière de ce livre est clairement évoquée en introduction de son Explication pour l'intelligence des cartes. L'auteur précise qu'il a ajouté les «chemins par où l'armée, et le canon, peuvent passer pour aller en Italie». De fait, cet ouvrage témoigne des fortes ambitions françaises dans cette région au début du XVIIe siècle ainsi que d'une volonté clairement expansionniste. L'intérêt marqué de son auteur pour les environs de Suze permet de supposer que la réalisation du manuscrit est postérieure à la bataille du 6 mars 1629 où s'imposèrent les troupes françaises de Louis XIII. Visiblement peu concerné par la représentation de la déclivité de cette région, le cartographe ayant réalisé cet ensemble s'est surtout s'intéressé aux frontières, aux voies de communication et à la toponymie alpestre.Au regard du savoir et des informations dispensées dans l'ensemble de ce manuscrit, Christophe Tassin semble être une des rares personnes à avoir pu accéder à une telle masse de connaissances dont la carte secrète réalisée par Jean de Beins en 1617[2]. Nous proposons donc de lui attribuer cet atlas. Ingénieur et géographe du roi, ce cartographe «est surtout célèbre pour ses petits atlas oblongs», il entretient aussi des «rapports étroits avec le milieu des éditeurs de carte» selon Mireille Pastoureau[3]. Son ?uvre gravé a été édité par cinq libraire: Melchior Tavernier, Jean Mes.

Hardcover. Etat : Near fine. First. "THE FIRST IMPORTANT FLORILEGIUM" First edition. [Paris: Pierre Vallet,] 1608. Folio (13 5/8" x 9 1/4", 346mm x 234mm). [Full collation available.] With an etched-engraved title-page, 2 etched-engraved portraits and 73 etched-engraved plates. Bound in XVIIIc speckled calf (rebacked) with a double fillet border. On the spine, five raised bands with a floral gilt roll. In the panels, gilt rosette centerpieces with gilt ornaments top-and-bottom, all within a double gilt fillet border. Title gilt to red morocco in the second panel. Gilt roll to the edges of the boards. Rebacked. Boards a little bit splayed. A little rubbing to the fore-corners. Some wear to the lower edges of the first eight leaves, not affecting text or images. From the fifteenth plate, foliation in early ink manuscript to the upper fore-corner. On the eleventh plate, an early ink addition to the caption of the plate. The occasional spot but without foxing or any but the mildest tanning. With excellent margins (some half an inch taller than the Hunt copy), including many deckled edges. A lovely volume. On the lower edge of the title-page, an ink ownership inscription: "Ex bibliotheca H[ospita]l.is Lug[du]nis Catholicae Anno 1713" (General Almshouse (l'Aumône générale) of Lyon). Pierre Vallet (ca. 1575-ca. 1657) styles himself "brodeur ordinaire du roy," i.e., the court embroiderer. The book is dedicated to the queen (la Royne), Marie de' Medici, and is essentially a pattern-book for floral embroidery, which had become fashionable at court due largely to the queen. Vallet collaborated with Jean Robin (1550-1629; his is the second portrait), who directed the gardens at the Louvre and also maintained a small garden of rare plants on the western end of the Île de la Cité, to gather this florilegium (the Latin equivalent of Greek anthology, a selection of flowers). Vallet drew and etched-engraved the plates, which are "treated with complete naturalism and botanical accuracy" (Blunt 90; Blunt also anointed the book "the first important florilegium," ibid., 89). Because of the beauty and fidelity of its plates, the book was long used as a pattern-book for artists in various media. Indeed, it was re-issued in 1623 (the king's name changed to Loys XIII), that edition being considerably commoner. The Aumône générale of Lyon, just beside the Hôtel-Dieu (where Rabelais was a doctor), was established in the 1530's and settled in its present location in the mid-XVIIc. It had extensive gardens, and it was presumably their superintendent who used the present volume as a reference. Blunt, The Art of Botanical Illustration 89-91; Hunt 187; Nissen 2039.

First edition, first issue, with the Holt imprint. Locke worked for nearly two decades on his investigation of "the certainty and the adequacy of human knowledge" (PMM), and the resulting landmark work influenced many Enlightenment philosophers. Locke argued that all our knowledge comes from experience and through our senses, rather than innate ideas. The mind is at birth a clean sheet, a tabula rasa; since only material things can affect our sense, we can know nothing but matter and must accept a materialistic philosophy. Locke concluded that "though knowledge must necessarily fall short of complete comprehension, it can at least be 'sufficient'; enough to convince us that we are not at the mercy of pure chance, and can to some extent control our own destiny" (ODNB). Locke's Essay quickly ran to several editions and was popularized on the continent through French translations. "Few books in the literature of philosophy have so widely represented the spirit of the age and country in which they appeared, or have so influenced opinion afterwards. The art of education, political thought, theology and philosophy, especially in Britain, France and America, long bore the stamp of the Essay, or of reaction against it" (Grolier). Voltaire and Diderot accepted Locke with little question, Hume and Kant continued the investigation, and Bishop Berkeley rejected it with his own immaterialism. The edition was reissued with a cancel title bearing an Edward Mory imprint. Provenance: inscription to front free endpaper "Robert Kirktowne London: 1698" (a Robert Kirktowne is recorded as a naval surgeon in the period), 18th-century inscription to the front pastedown "Ex libris Gulielmi Byrd MTS". This is possibly William Byrd II (1674-1744), a large landowner in Virginia who studied at Middle Temple in London, explaining the MTS (Middle Temple School) initials. Attig 228; ESTC R22993; Garrison-Morton 4967; Grolier English 36; Grolier One Hundred 72; Pforzheimer 599; Printing and the Mind of Man 164; Hook & Norman 1380; Wing L-2738; Yolton 61A. Folio (318 x 192 mm). Contemporary speckled calf, red morocco label, covers bordered in blind, edges speckled red. 19th-century shelf label at head of spine. Skilful restoration at extremities, leaf D2 with defective inner margin resulting in a number of missing words, supplied in manuscript in early hand. A few splashes and scratches to covers else well-preserved, contents a little toned else clean: an excellent copy.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} First edition of legendary rarity of Port-Royal?s famous grammar. Ruble, n°104; Barbier, II, 554; Destailleur, I, p. 230, n°978; Brunet, II, 1692. Written by Lancelot, but inspired by le Grand Arnauld, the « grammaire de Port-Royal » is one of the most famous texts in the history of the linguistic theories. Even though it is not without precedent and that we can trace its sources until the medieval speculative grammar, it constitutes the first important presentation of a scientific program which will predominate in the Europe of Enlightenment, until the comparative grammar will challenge it. Language is the expression of the spirit that corresponds in every man to a universal structure. Rules that govern words depend on the rules that manage ideas that these words express. Then, every language grammar has a rational fund that makes it similar to logic; it?s then according to their logic the Gentlemen of Port-Royal will expose their theory of verbs and incidental propositions. This first edition is so rare that no copy appeared on the international public market for more than 35 years. An admirable copy, maybe the most precious ever known, entirely ruled, contemporary and elegantly bound in red morocco by Luc-Antoine Boyet, for one of the 3 inquiring people identified, Jérôme Duvivier (1660 ? 1720) with his autograph signature at the bottom of the title. It is in the environment of the ?inquiring? Parisians, at the very end of the 17th century, that bindings especially made to cover rare books appeared. Du Vivier knows the Duke du Maine, his ?neighbor? at the Arsenal, and also the Prince de Conti. He is also known to be La Fontaine?s friend. A letter of the later to the Prince de Conti ? who shared Duvivier?s passion for Chinese and Japanese ceramic ? makes an allusion in a pleasant tone to the precious statuettes that live in his office: ?We were talking about it, Du Vivier and I ( ). We made very specious wishes in your favor. They were heard only by a few Chinese idols?. From 1698, then in the editions of 1706 and 1717, Brice quotes him as one of the most inquiring Parisian, and the seven salons of his apartment at the Arsenal became a must-seen place for people of good taste.

DESARGUES ON PERSPECTIVE - ONLY TWO OTHER COPIES KNOWN. First and only edition, incredibly rare, of the last (surviving) contribution published by the brilliant French mathematician Girard Desargues in the notorious 'perspective wars' - Desargues was "the greatest perspectivist and projective geometer of his generation" (Kemp, The Science of Art, p. 120). Desargues published his works in very small editions, mostly for his friends and scientific colleagues. Today more than half of them are lost, and the survivors are of the greatest rarity, most known in just one or two copies. Desargues' bio-bibliographer Poudra believed the Six erreurs to be lost, but two other copies are known today, both in the Bibliothèque nationale de France. It is likely that our copy of Six erreurs is the only work published by Desargues now in private hands. We know of no copy of any original work of Desargues having appeared on the market for at least a century. In 1636 Desargues (1591-1661), published Exemple de l'une des manières universelles . . . touchant la pratique de la perspective, describing a 'universal technique' which, he claimed, subsumed all previous methods of perspective drawing. Although this work appears not to have excited a great deal of interest among practitioners, "Descartes and Fermat, to whom Mersenne had communicated it, were able to discern Desargues's ability" (DSB). "Through his own efforts as a polemicist and with the conspicuous assistance of Abraham Bosse in the [Académie Royale de Peinture et de Sculpture], the Manière became the centre of a noisily prominent controversy . The immediate cause was the publication of Perspective pratique . by a 'Jesuit of Paris' (actually Jean Dubreuil). This was a substantial, effective, and not overly technical introduction for artists, which imprudently contained a bowdlerised version of Desargues' Manière. The mathematician's response was immediate. He issued two hand bills [both now lost] accusing the anonymous author of 'incredible error' and 'enormous mistakes and falsehoods.' Dubreuil's answer, in a pamphlet entitled Diverses méthodes universelles ., was to accuse Desargues of having plagiarized the ideas of Vaulezard and Aleaume (which does not appear to have been the case). The Jesuit's publishers also issued a collected edition of anti-Desargues pamphlets under the ironic title Avis charitables sur les diverses oeuvres et feuilles volantes du Sieur Girard Desargues. Desargues replied with pamphlets devoted to Six errors in Pages 87, 118, 124, 128, 132, and 134 in the Book Entitled the Perspective Pratique . [the offered work] and a Response to the Sources and Means of Opposition . [the latter now lost]. Such terms as 'imbecility' and 'mediocrity' were used with undisguised venom by both parties" (Kemp, pp. 120 & 122). The dispute continued until 1679, drawing in other mathematicians and practitioners, notably Desargues' supporter Bosse and his opponents Jean Beaugrand and Jacques Curabelle. It cannot be said that Desargues prevailed, at least initially. Dubreuil's 'practical perspective' was popular until the 18th century; in England his book became known as the 'Jesuit perspective'. Desargues was far ahead of his time and it was not until the 19th century that the importance of his work was fully understood. Our copy of the Six erreurs is bound after the first edition of the first volume of Dubreuil's La perspective practique, which includes the Diverses méthodes universelles and Advis charitables. This is accompanied by the third edition of the second and third volumes (despite the 'seconde édition' on their titles - another edition appeared in 1663). Provenance: François du Verdus (1621-75) (signature on title of Dubreuil, 'Du Verdus'). Du Verdus was a student of Gilles Personne de Roberval (1602-75). Based upon Roberval's lectures, in 1643 Du Verdus wrote Observations sur la composition des mouvemens, et sur le moyen de trouver les touchantes des lignes courbes (first published in 1693), which contained Roberval's independent discovery of the method of tangents, a precursor to the differential calculus. Du Verdus was a correspondent of many of the leading European savants, including Evangelista Torricelli whom he met in Rome in 1644; while there he communicated Torricelli's ideas on the vacuum to Marin Mersenne. "With Du Verdus [Thomas] Hobbes seems to have been particularly close. When Hobbes came to write his autobiography it was addressed to 'this candid friend,who knew his ways so well.' While in France he seems to have thought at one point of remaining permanently in exile and going to stay with Du Verdus in Languedoc. Both men always professed the highest regard for each other; this was to lead Du Verdus to translate one of Hobbes' works, the De Cive; it was to lead Hobbes to dedicate one of his own works to Du Verdus, the mathematical Examinatio et Emendatio" (Skinner). This copy of Six erreurs was probably given to Du Verdus by Desargues - both men were members of Mersenne's circle; Du Verdus became one of the leaders of its successor, the Montmor Academy. Little is known of Desargues' early life. He was born in Lyons in 1591, the youngest son in a large family. It is probable that, some time in the late 1620s, he was employed as an engineer by Cardinal Richelieu. We know that, about 1630, Desargues entered the cadre of savants with whom Marin Mersenne (1588-1648) surrounded himself. This gave Desargues ready access to the leading ideas of his time. Desargues' first publication, and the only one not devoted to geometry and its applications, Un méthode aisée pour apprendre et enseigner a lire et escrire la musique, appeared in Mersenne's monumental Le Harmonie Universelle (1635-36). "At approximately this time (1631-36), Desargues began to tutor the young Blaise Pascal (1623-62) in geometry . That Desargues was now actively engaged in geometry is indicated by his 1636 publication of an Example de l'une des manières universell.

Couverture rigide. Etat : Très bon. Amsterdam, apud Joannem Janssonium, 1616.In-4 oblong de (10) pp. y compris le titre frontispice et la planche avec le blason, 732, (2). Relié en plein vélin souple de l'époque, dos lisse avec le titre manuscrit. Quelques légères brunissures et rousseurs en début de volume, sans atteinte au texte. Quelques réparations marginales.238 x 178 mm. --- Edition originale de cet atlas de poche consacré à l'architecture, aux cartes et aux vues de villes de l'empire allemand au tout debut du XVIIe siècle. Catalogue of the Avery Architectural Library, p. 80; Lipperheide, Katalog der Kostumbibliothek, 677; Chadenat, I, 16; Bachmann 15. L'ouvrage est divisé en trois parties distinctes, les deux premières analysant l'évolution historique de l'Allemagne depuis l'antiquité jusqu'au début du XVIe siècle en s'appuyant sur des cartes détaillées, la troisième offrant un panorama des villes du Saint Empire romain germanique à la veille de la Guerre de Trente ans. L'abondante illustration se compose, outre le frontispice, de 26 cartes gravées dont 20 à pleine page, et de 101 vues de villes détaillées. Ces planches sont extrêmement intéressantes car elles donnent des informations tant sur le plan de l'architecture que sur le mode de vie ou l'habillement des populations de l'époque. Un grand nombre de panoramas présentent en effet au premier plan les habitants des villes. Parmi les villes représentées l'on trouve : Amsterdam, Strasbourg, Bâle, Bergen, Bern, Bonn, Colmar, Frankfurt, Copenhague, Heidelberg, Munich, Prague, Riga, Stockholm, Zurich, Vienne, Hambourg, Weimar, etc. « Joli titre gravé, 26 cartes et 101 vues de villes très finement gravées » écrivait Chadenat (I, 16), dont l'exemplaire était incomplet et en noir. Pierre Bertius (1565-1629), était géographe et historiographe de Louis XIII. « Après avoir fait ses études à Leyde, il professa dans plusieurs villes ; puis il voyagea en Allemagne avec Juste Lipse, en Bohême, en Silésie /// Amsterdam, apud Joannem Janssonium, 1616.Oblong 4to [238 x 178 mm], (10) pp. including the frontispiece and the plate with the blazon, 732, (2). Bound in contemporary limp vellum, flat spine with handwritten title. Some slight browning and foxing in margins at the beginning of the volume. Few marginal restorations. --- First edition of this pocket atlas dedicated to the architecture, the maps and the views of towns of the German Empire at the very beginning of the 17th century. Catalogue of the Avery Architectural Library, p. 80; Lipperheide, Katalog der Kostumbibliothek, 677; Chadenat, I, 16; Bachmann 15. In addition to the frontispiece, the rich illustration consists of 26 engraved maps and 101 detailed views of towns. These plates are of the utmost interest as they give information not only about the architecture but also about the way of life of the populations from that time. Among the towns depicted here, we can find: Amsterdam, Strasburg, Basel, Bergen, Bern, Bonn, Colmar, Frankfurt, Copenhagen, Heidelberg, Munich, Prague, Riga, Stockholm, Zurich, Vienna, Hamburg, Weimar, ? A fine copy of which the 127 plates were contemporary hand-coloured.  .

Paperback. Etat : Good. First. First edition. Vienna: Matteo Cosmerovio, 1667. Octavo (6 1/4" x 3 13/16", 159mm x 97mm). [Full collation available.] With 24 (of 25?) folding etched-engraved plates. Bound in (contemporary?) red card wraps. Presented in a red buckram drop-front clam-shell box. Sunned at the spine, with a good deal of cracking and some losses to the wraps. Scattered foxing. The 14th plate (the Arsenale di Marte) at G7-8 disbound and laid in. A great many preserved lower deckles. Bookplate of Paul and Mariane Gourary to the front paste-down. A completely unsophisticated copy. Francesco Sbarra (1611-1668) was in correspondence with the great librettists of the early decades of the development of modern opera, principally centered on Venice. From 1650, he worked regularly with composter Pietro (Marc')Antonio Cesti (1623-1669) from Arezzo. Unable to find real success in Italy, Sbarra emigrated from Lucca to Vienna, where from 1665 he was court poet to the Holy Roman Emperor Leopold I of Austria -- himself a composer and patron of music. Leopold married his niece (and cousin) Margarita Teresa in 1666, and Il pomo d'oro (The Golden Apple; "pomodoro" became the Italian word for the American tomato) was commissioned to celebrate the wedding. The story of the opera is the preamble to the Trojan War (see Iliad XXIV.25-30): Eris, personification of discord, was not invited to the wedding of Peleus and Thetis (parents of Achilles). In revenge, she tossed into the wedding a golden apple inscribed "to the fairest," and the Trojan prince Paris was asked to judge among Hera (Roman: Juno), Athena (Minerva) and Aphrodite (Venus). Sbarra's sycophantic alteration to the plot is to have the golden apple presented, in the end, to Empress Margarita -- though not on her wedding day but on her seventeenth birthday (rather, two days later). The production -- Cesti's score exists only in an incomplete autograph manuscript (prologue and acts I, II and IV) at the Österreichische Nationalbibliothek (Mus.Hs.16885/1-4) -- was the largest and most ambitious of the XVIIc. Indeed, so legendarily grand was the work with its 23 sets that it failed to be mounted for its intended purpose in 1667. When finally staged in 1668, its scope was so vast that its performance was split over two days: 12 and 14 July 1668 in a purpose-built theatre (the prototype of the "Cortina"). It was designed by Lodovico Ottavio Burnacini (1636-1707), the great Venetian theatrical designer who inaugurated the "Viennese style" that strongly influenced German houses for many decades. The plates, engraved by Mathäus Küsel (Matthäus Küssel, 1629-1681), show the dazzling machinery and fantastical sets constructed for the production. Küsel had also worked in Venice before moving to the Viennese court. OCLC records 10 copies in institutions: 3 copies in U.S. institutional libraries (Princeton (20 plates), Columbia (21 plates) and Harvard (no plates; lacking a1 and K8) ) and 7 further (2 in France, 3 in Germany, 1 in Denmark, 1 in Switzerland). Rare Book Hub records the 1667 edition coming to auction three times: Dominic Winter 26 July 2006 (24 plates) and the present item twice: at Christie's in 2009 (vide infra) and in 2019 at Bonham's. The full plate-count ought to be 25 -- the frontispiece, 23 sets and an illustration of the theatre itself -- but no copies with the full suite are noted in institutional collections or at auction. Perhaps the final illustration of the theatre was not circulated with the work. The present volume was in the great collection of "fête books," as they are known, amassed by Paul (principally) and Marianne Gourary. After Paul's death in 2007, the collection -- "Splendid Ceremonies" -- was sold by Christie's New York (12 June 2009), in which the present item was lot 512. Gourary had bought the volume from the Zurich firm L'Art Ancien SA (cat. 45, no. 36 (1956)) run by Dr. Erwin Rosenthal.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:8.0pt; mso-para-margin-left:0cm; line-height:107%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-fareast-language:EN-US;} Edition originale. Pritzel 1299 ; Nissen BBI, 273 ; De Belder 92. Cet ouvrage est largement basé sur le Florilegium novum de l'auteur, 1612, qui comporte 87 planches qui réapparaissent ici. Exemplaire complet de l'un des plus célèbres et influents des premiers florilèges, publié pour la première fois en 1612 avec seulement 87 planches. « L'art inégalé pour lequel de Bry était renommé dans toute l'Europe apparaît clairement dans les planches de ce florilège. Chacune d'entre elles a été composée avec soin, et le trait assuré de la gravure, avec ses fines nuances, dénote la main d'un véritable maître. » « De nombreuses figures sur les planches sont des copies (à l'envers) du Jardin du Roy de Pierre Vallet, 1608, avec la suppression de certains des insectes montrés dans le Vallet, et avec l'ajout de bulbes pour certaines des plantes. Nissen. mentionne l'Hortus Eystettensis de Besler, 1613, et l'Hortus Floridus de Van de Pas, 1614, comme autres sources de l'?uvre ultérieure de De Bry » (Hunt). Jean-Théodore de Bry, né à Liège en 1561, mort à Francfort en 1623 fut un graveur habile, lequel, suivant Heinecken, surpassa son frère et même son père. Il a dessiné et gravé des fleurs pour le Florilegium novum, Francfort, 1612-18, 3 vol. in-folio. ; réimprimé en 1641, à Francfort, chez Merian, sous le titre de Florilegii renovati et aucti ; et pour l?Anthologia magna, 1626, ou 1692, in-folio : ces figures ont été utiles aux brodeurs et aux fabricants de papiers peints ainsi qu?aux botanistes. Les exemplaires complets, tel celui-ci, des ?uvres florales de Jean-Theodore de Bry conservés dans leur pure reliure de l?époque sont très rares. L?exemplaire de Belder du Florilegium Renovatum de 1641 en coloris ancien « engraved title, B1-3 and the double-page garden plate skilfully remargined, a little worming in lower margins of last few plates ; recently expertly rebacked preserving original spine (extremitites very lightly rubbed) » fut adjugé GBP 181 250 le 23 octobre 2010. Superbe exemplaire complet de l?édition originale de 1626 conservé dans sa pure reliure de l?époque en vélin ivoire à recouvrement.

GOOS, Pieter (1615-1675) - LOOTS, Johannes (ca. 1665 - 1726). Le Grand & Nouveau Miroir ou Flambeau de la Mer contenant la description de toutes les Costes Marines Occidentalles & Septentrionnalles, desinonstrant en plusiers Cartes tres necessaire tous les ports, fleuves, bayes Rades, profondeurs & bancs chacun tres exactement couche selon leur vraye hauteur pollaire, & pour veu des descouvrements des terres principales, & a qyel cours & distance elles sont situees les unes des autres. Jamais Parcidevant si Clairement mis en lumiere & outre ce augmente & amande pour le bien & utilite de tous Mariniers & Navigateurs. Recueilly & Recherchee de divers Experimentez Pilotes & Amateurs de la Navigation. Avec une necessaire instruction de l'art de la navigation & aussi pourveu d'Almanachs jusques en l'An 1691. Traduit de Flaman en Francois par Paul Yvonet. De Impression De Pierre Goos, & Servant Par Jaques Robin. A Amsterdam. En la rue du pont neuf a lenseigne de pillote & ala Rochelle Cheux Pierre Yvounet. Avec Privilege A l'an 1684. 4 parts in one volume. Folio (17 x 11 inches). Engraved allegorical title-page, 32 fine double-page engraved charts, 2 engraved vignette charts, one woodcut volvelle, many woodcut coastal prfiles, diagrams of astronomical charts, instruments and constellations throughout the text (chart of "Gallissien" bound up side down, some charts close cropped to within the plate mark, one corner with short marginal tear, one or two spots). Contemporary calf (very worn). Provenance: with an early ownership inscription at the head of the title-page; with an 18th-century engraved armorial bookplate on the verso of the third blank; with the engraved bookplate of Baron Quinette de Rochemont, (1838-1908) on the front paste-down; and a gift inscription to M. Sicard of the Academie Francaise dated 1925, also on the verso of the third blank. The VERY RARE FRENCH EDITION, translated by Pierre Yvounet, of Goos' Dutch Sea atlas of Western European waters. Most of the plates were originally engraved by Pieter Goos, but are now updated to include the imprint of Jaques Robin, the coastlines have been reworked in the plate, with updated soundings, resulting in darker impressions of the engravings when compared to the 1676 edition. The chart of the "Zuyder-Zee" is dated 1686, "De Texel Stroom" 1687, "Rivier van Bordeaux" is a completely new plate signed "J.Robijn"; "De Custen van Schotland met de Eylanden van Orcanese", "Eylanden van Hitlant" are signed "Jacob Theunisz op 't water inde Lootsman"; "de Cust van Engeland tusschen Welles en 't Eyland Cogge" is signed "Jacobus en Casparus Lootsman op 't water inde Lootsman". Comprising: "Instruction En l'Art de la Navigation", illustrated with one volvelle and many woodcut diagrams and constellations in the text, and containing the Almanac for the years 1683-1691. Atlas: "Le Premier Livre Du Grand & Nouveau Miroir ou Flambeau de la Mer, Tant de la Navigation Septentrionalle, que Occidentalle. Contenant la description des Costes Marines de Hollande, Zelande & Flandres depuis Teffel jusques au pas de Calais" 11 double-page engraved charts "Le deuxieme Livre Du Grand & Nouveau Miroir ou Flameau de la Mer, Tant de la Navigation Occidentalle que Septentrionalle, Contenant la description des Costes Marines de France, de Tresport a Roscou, & les Costes d'Angleterre, de Fierley vers l'ouest jusques au bout Meridional d'Angleterre, comme aussi la manche de Bristoc & Costes d'Irlande" 9 double-page engraved charts "Le troisieme Livre Du Grand & Nouveau Miroir ou Flambeau de la Mer, De la Navigation tant Septentrionalle. Que Occidentalle Contenant la description de France Biscaye, Galice, Portugal & Algarve, de Ouessant au Destroit de Gibraltar" 9 double-page engraved charts "Le quatrieme Livre Du Miroir ou Flambeau de la Mer, contenant les Costes Marines de Barbarie, Gualete, Argun Genehou, les Isles de Madere & de Canarie, du Destoit de Gibraltar au Cap de Verd" 3 double-page engraved charts Goo.

Sevilla, Simà n Faxardo, 1649. Sevilla, Simà n Faxardo, 1649. En 4º.(3) h., 1 bl., 641, (2) pp., (1) bl. Signaturas: 4, A-Z4, 2A-2Z4, 3A-3Z4, 4A-4L4, M2. Encuadernacià n del siglo dieciocho en piel española, lomera cuajada de adornos dorados, tejuelo en marroquà n rojo con letrerÃa dorada. Cortes cincelados en rojo. PRIMERA EDICIÃ"N de esta obra de excepcional rareza, la obra sobre el arte de la pintura más importante impresa en España. Al estudiar El arte de la pintura del gaditano Francisco Pacheco, nos damos cuenta de que estamos ante un pilar fundamental para el conocimiento del arte de la pintura ya no en el Siglo de Oro español, sino tambià n en lo anterior a à l por sus muchas referencias a lo pasado. Una recopilacià n de conocimientos de primer orden. Sánchez Cantà n, Fuentes para la historia del Arte Español, Madrid, 1933. Vol. II, p. 119: "El libro de Pacheco es el más importante de la bibliografÃa artÃstica española del siglo XVII". Palau "Primera edicià n de esta obra buscadÃsima y muy rara". Cean Bermúdez, Diccionario histà rico. Madrid, 1800. Vol. IV, p. 14: "Es una obra elemental en que vertià todos sus conocimientos y gran erudicià n. Los pintores de la AndalucÃa le consideran como indispensable para su instruccià n y adelantamientos y los demás de España siempre lo respetan como la mejor obra de pintura en nuestro idioma. la lástima es que se ha hecho muy rara y convendrÃa reimprimirle". "El ejemplar que yo tengo de esta obra ni algún otro que he visto". F. Quilliet, Dictionnaire des peintres espagnols. Paris, 1816. p. 239: ".au surplus, il est tres-rare". Stirling-Maxwell, Annal of the artist of Spain. London, 1848. Vol. I, p. 473: ".it is now one of the curiosities of Spanish bibliography. M. Salva, the well-know Spanish bookseller of Paris, told me that he had never seen but one copy, and that an imperfect one which belonged to the late Mr. Heber. That (a copy) in the British Museum is also without it (Prà logo)". Portada expertamente restaurada en los márgenes de antiguo, 2-3 con pequeña mancha en el margen exterior, pequeña mancha en el margen superior de las primeras hojas sin afectar, pequeña restauracià n en el margen inferior de q3 sin afectar, antigua mancha de agua en la esquina inferior de las últimas hojas. En general buen ejemplar de una obra que suele aparecer incompleto o en muy malas condiciones las pocas veces que sale al mercado. De importante procedencias. Procedencia: 1. Inscripcià n borrada en la segunda hojal. 2. Antonio Cánovas del Castillo, su ex-libris. 3. Luis Cervera, su ex-libris First edition, extremely rare, of the most important source for the study of 17th-century art in Spain. Pacheco is described by some as the "Vasari of Seville": vocal and didactic about his theories of painting and thoughts about painters, conventional and uninspired in his execution. "It is now one of the curiosities of Spanish bibliography. M. Salva, the well-know Spanish bookseller of Paris, told me that he had never seen but one copy, and that an imperfect one which belonged to the late Mr. Heber. That (a copy) in the British Museum is also without it (Prà logo)". Provenance: Antonio Cánovas del Castillo.

*** Première édition d'un des plus curieux ouvrages de la littérature gastronomique. Les planches gravées sont imprimées, le texte est manuscrit et la composition de l'ouvrage varie suivant les exemplaires. Celui-ci porte la date de 1652. Les autres exemplaires connus, une douzaine, sont rarement datés, entre 1647 ou 1669. "L'ouvrage était destiné aux besoins de l'enseignement de l'auteur et la distribution des exemplaires réservés à ses élèves. Cette destination semi-privée expliquerait la forme surprenante de ces volumes, à mi-chemin du manuscrit et de l'imprimé." Cet exemplaire est illustré de 50 feuillets gravés portant un total de 54 gravures. 32 feuillets portent des explications manuscrites des planches. Il est composé ainsi : 1 f. avec un blason à pleine page, 1 f. de titre, un feuillet portant un exlibris manuscrit : "Louis Joseph Schmidt imprimeur libraire", (un imprimeur actif à Fribourg au milieu du XIXe siècle), une gravure frontispice, une suite de gravures enseignant l'art de trancher, un feuillet de dédicace in-fine. Le dernier feuillet porte un feuillet de dédicace : "Monsieur, Si vous me faites la faveur d'examiner et lire ce petit livre afin de vous exercer d'avantage en l'art de trancher vous m'obligeriez grandement . par sa lecture vous pourriez mettre en mémoire toutes les leçons que je vous ay donné sur ce sujet . J. Vontet." Les planches gravées sont les suivantes : Manière de tenir la fourchette et le couteau - La méthode de trancher les alouettes, becquefics et ortolans - De la caille, de la grive et du merle - Des pigeons domestiques, des coulombins en ramage et de la tourterelle. - Des poulets, dindonneaux et paons - De la bécasse, tride, corneille et francolins - De la perdrix rouge et grise - Du canardeau et de la cercelle - De la façon de trancher et de partager en deux ou en quatre parties les précédents oiseaux ou volailles - De la façon de partager en cinq pièces les précédents gibiers - Du chapon - La deuxième sorte de servir le chapon - De la poule bouillie et des poulets bouillis - Du coq d'Inde, paon et grue - Du coq d'Inde, du cigne et de l'airon - Du grand faisan - Du canard sauvage et domestique - De l'oye - L'oye tranchée dans le plat - Du lièvre (3 planches) - Du levraut et du conil - Du cochon (2 pl.) - Du chevrault (2 pl.) - La teste de veau (2 pl.) - De la longe de veau - De la hure du porc et du sanglier - Du jambon - Du gigot ou esclanche de mouton - De l'espaule de mouton - Les poissons - 12 planches de fruits et d'animaux curieux - Un volaille bardée. Des feuillets sont restés blancs. La plupart des gravures sont complétées à la main (traits de coupe et numéro d'ordre pour ce faire). Des restaurations au dos. Très bel exemplaire, complet. *** In-4 de 120 pp. Veau brun marbré, dos à nerfs orné, double encadrements dorés sur les plats. (Reliure de l'époque.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * First edition of one of the most curious works of gastronomic literature. The engraved plates are printed, the text is handwritten and the composition varies between copies. This one bears the year 1652. The other dozen or so known copies are rarely dated, and if so, between 1647 and 1669. "The work was intended for the author's teaching requirements and the distribution of copies intended for his pupils. This semi-private purpose would explain the surprising form of these volumes, halfway between manuscript and printed work." This copy is illustrated with 50 engraved leaves bearing a total of 54 engravings. 32 leaves bear handwritten explanations of the plates. It is composed as follows: 1 full-page coat of arms, 1 title , a leaf bearing a handwritten exlibris: "Louis Joseph Schmidt imprimeur libraire", (a printer active in Fribourg in the mid-19th century), a frontispiece engraving, a suite of engravings teaching the art of slicing, and at the end dedication leaf. The last leaf bears a dedication: "Monsieur, Si vous me faites la faveur d'examiner et lire ce petit livre afin de vous exercer d'avantage en l'art de trancherie vous m'obligeriez grandement . by reading it, you will be able to recall all the lessons I have given you on this subject. J. Vontet." Most of the engravings are completed by hand (cut lines and order number to do so). Restoration to spine. A very fine, complete copy. - -.

Couverture rigide. Etat : Très bon. Etat de la jaquette : Très bon. Francfort sur le Main, Paul Jacques, aux despens dudit Octave, & se vendent en la boutique de Lucas Jennis, 1617-1618. Folio of (10) pp., 50 double plates numbered from 1 to 50 ; 18 pp., (1) bl.l.; 50 plates numbered from 51 to 100; bound at the time like most of the rare copies that appeared on the market without the 8 explanatory ll. of the first part like the Christie s copy of June 12, 2013 bound in modern vellum (sold for 11 000 ) and the Koller copy of April 2, 2012; these two copies were considered complete. 5 pl. slightly foxed, pl. 22 and 64 browned, pl. 57 and 66 torn without loss, pl. 67, 68, 93 and 94 are bound backwards. Full Havana calf, covers entirely surrounded with various blind-stamped borders and fillets with gilt fleurons in the corners and gilt central fleuron, spine gilt ribbed, blued edges. Beautiful contemporary binding. 289 x 183 mm. First edition fully complete with its 100 engravings published simultaneously in French and German. Exceedingly rare work on mills and their mechanics. First and unique edition, published at the same time as a German edition (the German edition will be republished in 1623), consisting of a dedication, a few explanatory pages but above all of 2 beautiful frontispieces and 100 etchings on double pages (fine issue of the engravings) depicting various types of mechanical systems intended to operate ornamental fountains or animal troughs, to grind grain or other products, to extract ore, to operate saws for cutting wood, to lift bales, to turn roasting ovens (pl. 49), to make paper (pl. 100), etc., all driven by men, beasts, water, wind or counterweight. The plates are engraved by Balthasar Schwan and Eberhard Kiefer after drawings by Jacopo Strada (Mantua 1507-1588 Prague), a pure Renaissance mind of many talents, since he excelled as a goldsmith, machine inventor, numismatist, linguist, art collector and dealer, but above all as a painter and architect in the service of three successive Habsburg emperors: Ferdinand I, Maximilian II and Rudolf II. Ottavio Strada (1550-1612) published the drawings of his uncle (see title) or grandfather (see dedication) almost 30 years after the latter s death, thus lagging behind recent innovations. He dedicated the first part to the Duke of Bavaria Frederick V, whose large coat of arms are printed halfway down the page, and the second to the governors of the United Provinces. The few explanatory pages are by Benjamin Bramer (1588-1652), a German architect and mathematician, who « espère de monster (Dieu aydant) en bref aussi apprès la publication de toutes les machines de nostre auteur, quelques aultres desseings de ma propre invention ». The beautiful titles by Matthias Merian show Archimedes, Vitruvius, Hermes and Diane as well as small scenes with windmills, watermills, rotation systems, etc. First edition of Strada work on engineering designs, mills, pumps, and other machinery. Jacobus de Strada was a slightly older contemporary of Ramelli, whose own work on mechanical engineering was published in the year of Strada s death. It is clear that each man s work was independent; Beck suggests that Strada may have been aware of Ramelli s publication and decided against publishing his own designs in deference to the Italian. For whatever reason, publication was posthumous, edited by his grandson Octavius, and the 30-year delay resulted in Strada s designs losing their innovative edge. Nonetheless, the work shows Strada s close attention to detail and illustrates a wide range of machinery and engineering. One mill (plate 90) is described as best for producing ink black and is also ideal for such things as mustard, where the operator needs a certain distance from the burning dust (Cf. T. Beck, Beitraege zur Geschichte des Mashinenbaues, chapter 23.) A superb copy very well preserved in its elegant blind-stamped contemporary binding.

Couverture rigide. Etat : Très bon. Paris, 1654.(1) f. de titre et 10 pl. gravées par I. Silvestre.Chauveau, François (1613-1676).6 planches de décor de théâtre.S.l.n.d. [Paris, vers 1650].Torelli. Feste Theatrali per la Finta pazza.S.l.n.d. [Paris, vers 1645].Titre allégorique par Stéfano della Bella (1610-1664) et 5 planches gravées par Nicolas Cochin (1610-1686) d'après Torelli. Berlin, 4118.Parigi, Alfonso (1606-1656).5 planches de décors de théâtre incluant 4 scènes de La Flora de Andrea Salvadori.S.l. [Paris], 1628. Berlin, 4114.Bella, Stefano della.7 planches de décors de théâtre pour « Le nozze de Gli dei », de Giancarlo Coppola, d'après les dessins de Alfonso Parigi (sans le titre).[Florence, 1637]. Hofer, 70.Chauveau, François. Alaric ou Rome vaincue.Suite complète du titre et des 10 planches gravées illustrant l'édition originale du poème épique « Alaric ou la Rome vaincue » de Georges de Scudery.[Paris, 1654].Perelle, Gabriel (1603-1677).16 gravures circulaires de paysages.[Paris], Jean le Blond (vers 1670).Berlin, 4465.Le Pautre, Jean (1618-1682).- Autels, tombeaux, cheminées. 8 planches.- Paysages, architecture avec riches bordures ornementales incluant des scènes bibliques. 12 planches.- Fontaines. 17 planches.- Fonds baptismaux et églises baroques. 2 planches.- Décorations baroques peintes et sculptées de murs et plafonds. 12 planches.- Scènes du Nouveau Testament au sein d'encadrements baroques très ornementaux. 6 planches.- Grands vases baroques devant des paysages ou au sein d'encadrements ornementaux. 6 planches.- Cariatides portant des vases baroques. 6 planches.Vouet, Simon (1590-1649) et Dorigny, Michel (1616-1665).Livre de diverses grotesques, peintes dans le cabinet et bains de la Reyne Régente, au Palais Royal.Paris, Galeries du Louvre, 1647.Titre et 14 planches. Berlin, 4004.Soit 16 suites d'estampes, grand in-4 oblong, reliées en vélin orné, tranches dorées. Reliure d'époque.280 x 389 mm. --- Superbe recueil baroque de 146 es /// Paris, 1654.(1) title and 10 pl. engraved by I. Silvestre.Chauveau, François (1613-1676).6 plates of set designs.N.p.n.d. [Paris, towards 1650].Torelli. Feste Theatrali per la Finta pazza.N.p.n.d. [Paris, towards 1645].Allegoric title by Stéfano della Bella (1610-1664) and 5 engraved plates by Nicolas Cochin (1610-1686) after Torelli. Berlin, 4118.Parigi, Alfonso (1606-1656).5 plates of set designs including 4 sets of La Flora de Andrea Salvadori.N.p. [Paris], 1628. Berlin, 4114.Bella, Stefano della.7 plates of set designs for "Le nozze de Gli dei", by Giancarlo Coppola, after Alfonso Parigi's drawings (without the title).[Firenze, 1637]. Hofer, 70.Chauveau, François. Alaric ou Rome vaincue.Complete set with the title and the 10 engraved plates illustrating the first edition of the epic poem « Alaric ou la Rome vaincue » by Georges de Scudery.[Paris, 1654].Perelle, Gabriel (1603-1677).16 round engravings of landscapes.[Paris], Jean le Blond (towards 1670).Berlin, 4465.Le Pautre, Jean (1618-1682).- Autels, tombeaux, cheminées. 8 plates.- Paysages, architecture with rich ornamental frames including biblical scenes. 12 plates.- Fontaines. 17 plates.- Fonds baptismaux et églises baroques. 2 plates.- Décorations baroques peintes et sculptées de murs et plafonds. 12 plates.- Scènes du Nouveau Testament within very ornamental Baroque frames. 6 plates.- Grands vases baroques in front of landscapes or within ornamental frames. 6 plates.- Cariatides bearing Baroque vases. 6 plates.Vouet, Simon (1590-1649) and Dorigny, Michel (1616-1665).Livre de diverses grotesques, peintes dans le cabinet et bains de la Reyne Régente, au Palais Royal.Paris, Galeries du Louvre, 1647.Title and 14 plates. Berlin, 4004.A total of 16 suites of engravings, large oblong 4to [280 x 389 mm] bound in decorated vellum, gilt edges. Contemporary binding. --- Superb Baroque collection of 146 engravings in first issue of theatre set designs, perspectives, architectures, Baroque interio.

Hardcover. Etat : Very good. First. THE PUGET-HEMEY COPY. First edition in French. Leiden: Bonaventure and Abraham Elzevir, 1640. Folio in 4s (13 7/8" x 8 7/8", 353mm x 227mm). [Full collation available.] With 14 double-page engraved maps and many woodcut illustrations integral to text. Bound in contemporary stabbed vellum. On the spine, title and author in ink manuscript. All edges of the text-block sprinkled red. Corners bumped and splitting a little. Scattered mild soiling. Ink to the spine rubbed. Mildly evenly tanned and foxed throughout, with some passages of moderate tanning and foxing. Armorial bookplates of Ludovicus (Louis) de Puget's gift to the Lyon Jesuit College and of P.N. Hemey to the front paste-down. Price code (?) in ink to the bottom of the recto of the first free end-paper. Ink annotation on title-page: "Domus Prob. Lugd. Soc. Jesu Bibliot. Catalogo Inscrip. 1709" Johannes de Laet (1581-1649), was born in Antwerp to cloth merchant Hans de Laet. In 1584, upon the invasion of Antwerp by Spanish troops, his family fled to the Northern Netherlands and settled in Amsterdam. At the University of Leiden, he studied philosophy and theology, matriculating in 1597. His worldly interests led him to London in 1603, where he cleverly invested in Dutch land reclamation projection and overseas trade. His success in his field led him to become one of the founding directors of the Dutch West India Company- a position he held from 1620 until death. De Laet first published his account of the New World as Nieuwe Wereldt ofte Beschrijvinghe van West-Indien. (Leiden, 1625). This French edition, probably translated by de Laet himself -- each edition, from the 1633 Latin to this French, became more complete and accurate, making the French edition the most desirable (see Sabin) -- is one of the most important seventeenth-century New World histories and texts concerning early knowledge of the Americas. The "Nova Anglia" map, showing the coast and inland areas from Nova Scotia to North Carolina, is the first printed map to mention the name Manhattan, here spelled "Manbattes." The Streeter catalog notes that "it is also the earliest to use the Dutch names of Noordt Rivier and Zuyd Rivier, for the Hudson and Delaware Rivers respectively, as well as the Indian Massachusets, for the new English colony. . . [the 'Nova Francia' map] is one of the foundation maps of Canada" (Streeter). It is "one of the most famous contemporary descriptions of the natural history of the New World. The work was highly praised a century later by Charlevoix, attesting to its accuracy [. . .] Winsor referred to Laet's book as the standard seventeenth-century work on New Netherland" (ibid.). The fourteen double-page maps are the work of Hessel Gerritsz, a Dutch engraver who was appointed official cartographer of both Dutch India Companies (over Blaeu). Louis de Puget (1635-1709) was a French scientist and author. A celebrated teacher of the sciences, he founded the Académie des Sciences, Belles-Lettres et Arts de Lyon in 1700. His career as a naturalist and physicist produced significant advances in the field of microscopes and magnets. A lover of poetry and literature, he also amassed a large book collection, which was bequeathed to the Lyon Jesuit college upon his death in 1709; the annotation to the title-page indicates its inclusion in their catalogue in that year. Philibert Nicolas Hemey d'Auberive (1759-1816), a French clergyman and writer, served as the last Abbot of the Abbaye Saint-Léger d'Ébreuil under the appointment of Napoleon. In 1780, he was appointed Abbot of Ébreuil by Louis XVI, and in 1788, he was appointed Archbishop of Lyon. Napoleon twice offered Hemey a bishopric position at cathedrals in Digne and Agen, but he refused both, giving priority to his research and publications. Alden & Landis 640/111; Borba de Moraes I.384; cf. Burden 229-232; Cumming, Southeast 34; Phillips 1149; Sabin 38558; Streeter sale 37; Willems 382.

Hardcover. First edition. THE FIRST FRENCH TRANSLATION AND EXPOSITION OF VIÈTE. First edition, very rare, and in an unrecorded 1629 issue (usually dated 1630), of the first vernacular translation and exposition of Viète's In artem analyticum isagoge (Tours, 1591), the earliest work on symbolic algebra, here bound with a first edition of Vaulezard's translation of Viète's Zeteticorum libri quinque (Tours, 1593), which gives examples of the application of his 'analytic art' to problems from Diophantus' Arithmetica. The third work is a scathing criticism by Vaulezard of a later translation of the Isagoge, published in 1630, by Anthoine Vasset (generally believed to be a pseudonym for Claude Hardy); in a lengthy introduction to his translation, L'algèbre nouvelle de Mr. Viète (Paris: Rocolet, 1630), Vasset criticized Vaulezard's translation, to which Vaulezard responded in his Examen (thus, Vasset's translation definitely post-dates Vaulezard's). The greatest French mathematician of the sixteenth century, François Viète (1540-1603) was "the first extensively to use letters of the alphabet to represent numerical quantities" (Hutchinson's DSB, p. 690), and "the first mathematician of his age to think occasionally as mathematicians habitually think today" (Bell, p. 99). Viète used letters "both for known . and for unknown quantities" and "this innovation, considered one of the most significant advances in the history of mathematics, prepared the way for the development of algebra" (DSB); it earned him the sobriquet "the father of algebra" (ibid.). Zetetica is a Greek word meaning "those things to be sought out", and zetetics is the process of transforming a problem into an equation. In his preface to Les cinq livres des Zetetiques, Vaulezard tells us that in addition to the Zetetica he has added the second and third part of the Isagoge, i.e., the sections dealing with poristics (proving theorems through equations) and exegetics (solving equations), and that he has printed Viète's words in italic and his own commentary in Roman so that the difference may easily be seen. The first edition of In artem analyticem isagoge is among the rarest of the important works in the history of mathematics, and is hardly ever seen on the market. A copy was offered a few years ago by a prominent New York dealer for $450,000, and another copy sold at a German auction at about the same time for â 200,000 (plus premium), exemplifying Haskell Norman's dictum that rare books come in twos; we know of no other copy on the market since a copy offered by Sotheran in the 1920s (later in the Turner Collection at Keele University and now in private hands). The present works are almost as rare on the market, and are in fact even rarer than the Isagoge in institutional collections. ABPC/RBH records only one other copy (Macclesfield) of Les cinq livres (Sotheby's, November 25, 2005, lot 2049, £3,120 = $5,506) and no other copies of the other two works. OCLC lists, in the US, Brown, Harvard, Michigan, & NYPL for Introduction en l'art analytic and Les cinq livres; and Brown & Harvard only for Examen. There is no copy of any of the three offered works on COPAC, which lists five copies of the Isagoge. In artem analyticum isagoge is "a text in which Viète proposed nothing short of a complete refashioning of algebra as it was then understood . Rather than viewing algebra merely as the search for solutions of particular equations, he understood it as the analysis of an actual theory of equations" (Katz & Parshall, pp. 236-237). "The most important of Viète's many works on algebra . [It] introduced the use of letters both for known quantities, which were denoted by the consonants B, C, D, and so on, and for unknown quantities, which were denoted by the vowels. Furthermore, in using A to denote the unknown quantity x, Viète sometimes employed A quadratus, A cubus . to represent x2, x3, . This innovation, considered one of the most significant advances in the history of mathematics, prepared the way for the development of algebra" (DSB). "If this seems reminiscent in principle of our modern notation of x, y, and z for unknowns and a, b, c, etc. for indeterminate magnitudes, a convention which we owe to René Descartes in the seventeenth century, it is important to recognize that Viète's symbols or 'species', unlike ours, carried explicit geometrical meaning. They had dimension, and only expressions of the same dimension were commensurate . To Viète's way of thinking, then, the addition of a one-dimensional unknown A to a one-dimensional indeterminate B was denoted simply by A + B (we would write x + b), but in two dimensions, the sum appeared as A square + B plane (or our x2 + b) and in three dimensions as A cube + B solid (or our x3 + b)" (Katz & Parshall, pp. 238-239). Perhaps the most important part of the work is chapter 4, in which "he presents a mode of calculation carried out completely in terms of 'species' of numbers and calls it logistice speciosa - in contrast with calculation using determinate numbers, which is logistice numerosa. Of significance for the formation of the concepts of modern mathematics, Viète devotes the logistice speciosa to pure algebra, understood as the most comprehensive possible analytic art, applicable indifferently to numbers and to geometric magnitudes" (DSB). Viete's 'Analytic Art' comprises three stages. At the first stage, zetetics, a problem, whether of arithmetic or geometry, is translated into Viète's newly created symbol system or logistice speciosa in the form of an equation. At the second stage, poristics, equations are transformed according to rules into canonical forms; and finally at the third, exegetics, a solution to the problem is found on the basis of the derived equation. As Viète himself emphasizes, at this third stage the analyst turns either geometer, 'by executing a true construction,' or arithmetician, 'solving numerically whatever powers, whether pure or affected, are exhibited.' "In 1593 Viète published.

Twenty-three of twenty-five numbered etchings and engravings, including the title image (78-81x117-120 mm), all with large margins (each leaf measuring 198x141 mm). Lacking plates nos. 13 and 24. Unidentified blason watermark. Loose sheets, matted and preserved in a modern half-calf box. Minor fingermarks and other stains in outer blank margins of some leaves; pale waterstain or discolouration at the outer margin of some prints; minor bleeding at outside border of print no. 18, not affecting image; print no. 6 includes very minor staining within image. Most prints have a very slight amount of wash colour – always at the headgear and often barely noticeable – the casual 'doodling' of an early collector. Plate no. 2 includes the inked inscription, in an early hand, 'Les Incroyables', now slightly faded, in margin above image.Exceedingly rare suite of prints showing armed caramogi, i.e., dwarfs, engaged in duels or carrying a variety of weapons, a satire of the macabre jousts held in seventeenth-century Florence during Carnival, and a 'little known' (Viatte) addition to the corpus of Florentine caricature or grotesques which Baldinucci termed "invenzione bizzarrissima". Lucini (or Luccini) is said to have been in the circle – perhaps as a disciple – of the outstanding French engraver Jacques Callot, first in Florence (1616), and subsequently in Nancy. He is famous for his engravings after Stefano della Bella, and for all the engravings in the great sea atlas Arcano del Mare, (1646-1647), an immense undertaking of twelve years' duration which very likely contains the most beautifully engraved and calligraphed maps ever executed. "The Compendio dell'armi de' caramogi (Compendium of caramogi weapons) of 1627 is a rare edition of 25 prints [.] Without a doubt, Luccini was familiar with the Gobbi series and other dwarf imagery by Callot, under whom he had studied [.] Luccini's combination of bizarre costume, ugly physique and grotesque violence produced an amusing parody of dueling. The prints illustrate dwarfs using a variety of weapons (several operate diverse types of cannons). Many of the images feature pairs of doughy-looking dwarfs battling with swords, knives and lances. The dwarfs wrestle ferociously, often stabbing and slicing the limbs off one another. The contrast between the appearance of the lumpish dwarfs and the brutal nature of the fighting created a paradox – small creatures exhibiting excessive carnality – that would have been highly entertaining for the early modern audience" (S. Cheng, "Parodies of Life", pp. 132-133). The suite was published by the Parisian printer and occasional engraver Francois L'Anglois (or Langlois; 1588-1647), dit Chartres. His signature – 'F. L. D. Chartres excud.' - appears only the title, as none of the other plates are signed. Accordingly, it may be an error to consider 'in Firenze An. MDCXXVII' the place of publication, which would more likely be Paris, while the Tuscan city would have been the place where Lucini invented his Caramogi. In this set, an early French hand has written, in the upper margin of plate no. 2, 'Les Incroyables', a feature which could suggest – alongside the mention of François L'Anglois on the title-page at least a French circulation, if not its Paris publication. We have located only three copies of this series: one complete copy is in the Bibliothèque Nationale in Paris, in the Marolles album devoted to caricature and ornament (BnF, Cabinet des Estampes, Res. Tf-1-Fold, Marolles N° 222; reproduced in its entirety by Viatte); a second one, lacking one plate, is at the Biblioteca Civica Bertoliana, in Vicenza; and a third set containing only twelve plates in the Metropolitan Museum of Art in New York. If it was ever more widespread, the survival rate of such engraved suites is tenuous indeed, whether because they were so antithetical to the main currents of Florentine art, or because of their hypothetically 'popular. Book.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman","serif"; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-fareast-language:EN-US;} Very rare first edition of one of the most famous books on Venice, its festivities, costumes and activities around 1600. Colas, Bibliographie Générale du Costume, n°1108, col. 384-5; Katalog Der Freiherrlich Von Lipperheide'schen Kostümbibliothek (repr. 1963), n°1324, p. 527. ?This collection offers great interest in the costumes of Venice during its greatness. It is sought after today especially as it has become extremely rare ". (Vinet, Bibliographie méthodique des Beaux-Arts). This collection is so rare that Brunet never found a complete copy and only described an incomplete one (Brunet, II, 1378). As for Vinet, he doubts the number of plates, following the number 24 with a "?" (Vinet, col 283, n° 2291). The copy of the British Museum only contains 20 plates out of 25 and one title leaf is missing. Title engraved with a birds ?eye view of Venice on an architectural frame, with a view of the Rialto bridge and 24 extremely fine engravings. The book shows in an extraordinary detailed way the various festivities, processions and past times of the city, as well as great moments in its history. ?Assimilated to the genre of the costume book, the work by Giacomo Franco (1556? - 1620), drawer and engraver born in Venice, also shows engravings of a strong interest for the history of manners and customs of the Serenissima in the 16th and 17th centuries: festivals, entertainment, maritime games, regattas and carnival. The 1610 edition is probably the first. The number and order of the engravings vary greatly from one edition to another and between copies of the same edition. The copy is composed of 26 copper plates including one double plate, all, except one, signed by Giacomo Franco. The engraving named Feste che si sogliono fare per la città della caccia del toro, amazzar la Gata col capo raso, pigliar l?anadre, pigliar l?occa nell?acqua et altro features games with animals: a bear fighting with dogs, a tied up cat, a goose being plunged into water, a duck hanging from a mast and a chased bull. Attested since the Middle Ages, bull hunting is a traditional carnival game in the Renaissance, particularly in Rome and Venice?. (Virtual exhibition organized by the Mazarine Library Libri italiani lecteurs français, "Balls, festivals and banquets"). ?This book of engravings depicts the costumes, festivals, and social life of early seventeenth-century Venetians. There is no text other than a short descriptive sentence at the bottom of each engraving. Major Venetian landmarks are easily recognizable, and the small ovoid map on the title-page is regarded by some scholars as an important example of early Venetian cartography. Very little is known about the Venetian engraver Giacomo Franco. The son of painter Giovanni-Battista Franco (1510-1561), with whom he began his artistic training at the age of eleven, he worked as a painter, engraver, woodcutter, and dealer in graphics and books. For a while he studied in Bologna with Agostino Carracci (1557-1602). In the early 1580s they opened a private teaching academy that soon became a center for progressive art. In their teaching they laid special emphasis on drawing from life, and clear draughtsmanship became a quality particularly associated with their school. In 1595 Franco took over his father?s workshop and eventually became a well-known publisher. Although he was not documented as belonging to the booksellers? or printers? guilds, he is recorded in 1606 and again.

THIS BEAUTIFUL AND COMPLEX HYBRID BOOK BINDS ART, COLLECTING, INSTRUCTION AND ENTERTAINMENT. Carefully planned and neatly assembled, it could serve artists, curiosity cabinet owners and children of wealthy families. It draws on coins, medals, statuary, paintings, architecture, manuscripts and printed books like Sainte-Marthe's biographies, Rouillé's Promptuaire and the bibliographies of Du Verdier and Gesner. The present example spans Eastern and Western rulers, biblical figures, intellectuals, statesmen, nobles, clerics and pagan gods. It includes the most celebrated series, Famous Frenchmen since 1500 (cut by Léonard Gaultier, no. 18) with portraits of, i.a., Vesalius, Erasmus, Nostradamus, Budé, Alciati, Mercator, Ortelius, Thevet, Rabelais, Ronsard, Robert Estienne, Plantin, Garamond - and notably, THE ONLY KNOWN LIKENESSES OF ARTISTS FRANÇOIS CLOUET AND GERMAIN PILON. The Chronologie collée, or "glued history", is an ingenious dodge. Print dealers skirted the law barring them from selling codices by commissioning broadsides of numbered intaglio portraits, broadsides of numbered letterpress lives and support sheets, blank, or, as here, with elaborate fleuron frames. The illustrations and text were cut into strips, matched and mounted to create bespoke illustrated biographical folios, available singly or in combinations. The cut-and-paste operation could be done by a print dealer, binder, buyer, or, as likely here, by a purveyor of personal luxury items and interior furnishings like marchand-mercier Antoine Saultereau. The three components - intaglio, letterpress and support - could be produced as needed, and this volume shows the work of several shops over some years. One suite (21) shows four generations of letterpress. Conversely, fleuron frames tie fourteen series to the same press (1, 4, 5- 6, 8-9, 12, 14-20). The series are (in order): 1. Hebrew Patriarchs (112 portraits, 9 leaves total), 2. Sibyls (12 ports., 8ff.), 3. Pagan Gods and Goddesses (59 ports., 9ff.), 4. Persian Kings and Queens (53 ports., 13ff.), 5. Roman Emperors (295 ports., 25ff.), 6. Rulers of Constantinople (84 ports., 13ff.), 7. Popes (247 ports., 13ff.), 8. French Kings and Queens (158 ports., 2 coats of arms, 23ff.), 9. Spanish Kings and Queens (185 ports., 25ff.), 10. English Kings (138 ports., 11ff.), 11. Portuguese Kings and Queens (47 ports., 11ff.), 12. Rulers of Naples (29 ports., 15ff.), 13. Polish Kings (45 ports., 7ff.), 14. Rulers of Savoy (59 ports., 13 views, 9ff.), 15. Venetian Doges (96 ports., 13ff.), 16. Dukes of Brabant (93 ports., 13ff.), 17. Masters of the Knights of St. John (55 ports., 13ff.), 18. Famous Frenchmen (144 ports., 13ff.), 19. Chancellors of France (99 ports., 13ff.), 20. Jurists of Roman Law (66 ports., 9ff.), 21. Latin (and Neo-Latin) Poets (96 ports., 9ff.), 22. Universal Chronology (text only, 23ff.). Contemporary title inscription of Courtin de Rozay, bookplate and stamps of connoisseur François-César Le Tellier, marquis de Courtanvaux (1718-1781), Martine-Marie-Pol de Béhague, comtesse de Béarn (1870-1939) and by descent to marquis Hubert de Ganay. In fine condition. Lipperheide, Katalog der.Kostümbibliothek Ab4; Zerner, "Lettre à Margret à propos de la Chronologie Collée" in Correspondances: Festschrift für Margret Stuffmann zum 24. November 1996 ed. Bauereisen (1996) 1-89; see Duportal's Contribution au catalogue général des livres à figures du XVIIe siècle 461 and Brunet I: 1891 & Suppl. II: 836. Contemporary gilt red morocco à la Du Seuil (scuffed, front stained, hinges and corners neatly repaired), marbled pastedowns, blank free endleaves, gilt-lettered spine and title, all edges gilt.

Folio (206 x 327 mm). 8 parts (all published; in various editions, dated I: 1652; II-V; 1651; VI: 1652; VII: 1654; VIII: 1650) in one volume. Engraved half-title; (28); (28); (28); (28); (28); (28); (28); (28) pp. Letterpress with numerous woodcuts in the text. Contemporary black morocco (spine rebacked), covers blindstamped with giltstamped initials "S. B." and year "1666". Extremely rare: "unquestionably the most representative of all German song collections published in the 17th century" (Osthoff); also an important source for the study of German Baroque literature due to the poems of Simon Dach. Heinrich Albert (1604-51) was the cousin and student of Heinrich Schütz. "With Simon Dach, Albert formed the nucleus of the Königsberg poetic circle, which was of especial importance for the Baroque song" (Riemann). The poems of Dach, the "Prussian Opitz", were never published in a complete collection during his lifetime. - The legendary rarity of these "Arias" has been remarked upon even by E. L. Gerber in 1812: "In spite of the number of editions which Albert's works enjoyed, they have now become so rare that I have never seen a single note of his, although I have dedicated more than three decades of my life to the pursuit of musical products" (Neues historisch-biographisches Lexikon der Tonkünstler II, 48). - The richly illustrated engraved half-title, which actually belongs to part 8, has been bound first of all (lower edge trimmed and rebacked with old paper; final two letters of the word "Achter" erased, so as to form a common title to the entire collection: "Acht Theil der Arien theils geistlicher zu christlichem Leben und Sterben anreitzender, theils weltlicher zu geziemender Lust dienender Lieder"). Modern spine and endpapers. Occasional annotations in an old hand; one interleaved sheet of handwritten music; a few slight flaws repaired. Save for two slightly stained pages a very clean copy. - RISM A, 620, 623, 626, 629, 633, 635, 638, 639. Faber du Faur 357. Goedeke III, 129. Wolffheim II, 2091. Hirsch III, 599. BSB I, 45 ff.

Couverture rigide. Etat : Très bon. Paris, Denis Thierry et Claude Barbin, 1678-1679-1694.5 volumes, nombreuses figures de F. Chauveau, gravées sur cuivre et tirées à mi-page. Ensemble 5 volumes in-12. Plein maroquin bleu nuit, triple filet doré autour des plats, dos à nerfs richement ornés, double filet or sur les coupes, roulette intérieure, tranches dorées sur marbrures. Reliure signée de Belz-Niédrée vers 1865. Tome I : 57 gravures dans le texte, relié sans le f. d'errata puisque les fautes mentionnées ont été corrigées dans notre exemplaire ; Tome II : 60 gravures dans le texte ; Tome III : 44 gravures dans le texte ; Tome IV : 43 gravures dans le texte ; Tome V : 31 gravures dans le texte. Pte. déchirure anciennement restaurée pp. 91 et 221 du tome IV.159 x 88 mm. --- Edition originale collective des Fables de La Fontaine, la seule qui ait été imprimée et corrigée sous la direction de l'auteur. Elle est du plus haut intérêt et de la plus grande importance. Elle comprend 120 Fables en édition originale. Les 3 derniers volumes sont en édition originale ; les deux premiers, réimprimés vers 1692 sous la date de 1678, sont la réimpression de l'édition in-12 de 1668.« Seule édition complète des Fables de La Fontaine qui ait été imprimée sous les yeux de l'auteur. » (Brunet, Manuel du Libraire, III, 751).« Cette précieuse et célèbre édition se trouve difficilement complète et en bon état, la plupart des exemplaires, comme le fait remarquer M. Brunet, ayant passé par les mains des enfants. » (A. Claudin. Cat. Rochebilière, n° 168).Le Tome III contient 41 fables nouvelles et l'épitre dédicatoire à Madame de Montespan.Le Tome IV contient 39 Fables nouvelles avec un épilogue.Le Tome V contient 29 Fables nouvelles.Elle est ornée de plusieurs centaines d'estampes de Fr. Chauveau et de M. Guérard dont la plupart paraissent pour la première fois. « La Fontaine a été salué comme l'inventeur du vers libre. Mais, à vrai dire, ce poète connaît pe /// Paris, Denis Thierry et Claude Barbin, 1678-1679-1694.5 volumes, numerous figures of F. Chauveau, copper-engraved and issued on half-page. Together 5 volumes 12mo [159 x 88 mm]. Full night blue morocco, triple gilt fillet around the covers, ripped spines richly decorated, inner border, gilt over marbled edges. Binding signed by Belz-Niédrée towards 1865. Part I: 57 engravings in the text, bound without the errata leaf because the mistakes mentioned were corrected in our copy; Part II: 60 engravings in the text; Part III: 44 engravings in the text; Part IV: 43 engravings in the text; Part V: 31 engravings in the text. Small tear formerly restored pp. 91 and 221 of part IV. --- First collected edition of La Fontaine's Fables, the only one printed and corrected under the author's direction. It is of the highest interest and of the greatest importance. It contains 120 fables in original edition. The last 3 volumes are in first edition; the first two, reprinted circa 1692 under the date of 1678, are the reprint of the 12mo edition of 1668. "Only complete edition of La Fontaine's Fables that was printed under the author's eyes." (Brunet, Manuel du Libraire, III, 751)."This precious and famous edition is hard to find complete and in good condition, most copies, as Brunet notes, having passed through children's hands." (A. Claudin. Cat. Rochebilière, n°168).Part III contains 41 new Fables and the dedicatory epistle to the Marquise of Montespan. Part IV contains 39 new Fables with an epilogue.Part V contains 29 new Fables. It is illustrated with hundreds of engravings by Fr. Chauveau and by M. Guérard of which most of them are published for the first time. "La Fontaine was hailed as the inventor of free verse. But, to tell the truth, this poet knew few rivals in the art of handling the French verse and there, as in this fusion of lyricism and realism, La Fontaine exceeds his time: that is why his success never weakened and remained universal; that's why Taine wa.

First Edition. Three parts, quarto (10-1/8 by 7-1/2 in.). 114 (of, perhaps, 165) copperplate engravings, depicting allegorical and satirical tableaux. Engraved general title (numbered 1), serving as title for the first part; latter parts with separate engraved titles. Some plates read: "I. Lagniet exc[udit], "some others note the location of the firm, and a few bear initials of engravers. A definitive count of plates published in the set has never been determined, and collections cited by bibliographic authorities vary. Plate 15, part 2, dated 1657. Later half leather over textured cloth. Blanks bound in to note missing plates in sequence (see inventory below). Several leaves in the first part skilfully remargined at fore-edge (no loss). Occasional light smudges and stains. A very good set. Notably large collection of cooperplate illustrations by the engraver, caricaturist, and editor, Jacques Lagniet (1620-1672), comprising one of the most popular suites of prints in the history of the genre. Few large collections of Lagniet's Proverbs have been assembled and bound together, and all contain somewhat mixed and incomplete assortments of the approximately 165 plates in the complete series. Unnumbered plates of uncertain origin are sometimes included, as we see in the present collection, bound after the second part, "Le tableau et la vie exemplaire de ces deux amys," in which two friends fart into a lit candle. (Plus ça change.). An extraordinary imaginative and documentary achievement, Lagniet immerses us in the ups and downs of daily life, set against the background of omnipresent scourges: plague, war, and famine. Not only do we see an important period of history pass before us, captured in more intimate details than the somewhat pompous prints of Abraham Bosse, but we can also follow by means of these drolleries and pranks the development of the study of manners. ("Non seulement, on voit défiler devant soi une importante période de l'histoire, prise dans des détails plus intimes ques pare les estampes toujours un peu pompeuses d'Abraham Bosse, mais encore on peut suivre au moyen de ces drôleries et facéties le développement de l'étude de moeurs" -- John Grand-Carteret, Le Moeurs et la caricature en France). The vivid imagery of Lagniet's highly idiosyncratic vision, is balanced by a rich text woven together from proverbs, maxims, and popular (often course) expressions. This resulting multi-media extravaganza evokes a very specific time and place, with a rare depth and sensitivity to the full range of human emotions and motivations. With caustic verve, bourgeois and nobles are mocked. A whole gallery of grotesque types and buffoons are on display, not infrequently involving the more sordid and comic aspects of sexuality. Many of the subjects will fascinate the student of gastronomy, and delight those interested in antique trades -- blacksmiths, hosiers, glaziers, strolling musicians, turners and carters abount -- along with their settings in the interiors of shops or private homes. Provenance and annotations: The copy of Sir William Stirling Maxwell, with his arms tooled in blind at the front board, and his large bookplate at verso. Long bibliographic note neatly written and professionally tipped onto blanks bound before the first title. One plate with a touch of old blue tinting. Contemporary Latin inscription at plate 9, first part: Similis simili gaudet (Like rejoices in like). Sir William Stirling Maxwell, ninth baronet (1818-1878), was a noted art historian, historian, and book collector. After succeeding to his father's estates in 1847, Stirling commissioned a young London architect, Alfred Jenoure, to carry out alterations to Keir House. "The ambitious scheme transformed the neo-classical pile into an idiosyncratic expression of Stirling's tastes and interests. 'At the centre was his magnificent two-storey library, lined in cedar, with specially designed furniture and fittings. Dr Waagen found it 'too remarkable a room not to be mentioned' and noted that every surface was carved with mottoes, 'the study of which would occupy an ordinary length of life very profitably' (Waagen, 453). The books were beautifully bound and embossed with Stirling's armorial devices, and he himself designed the ex libris slips [as in the present volume] which incorporated his mottoes, such as Gang Forward and Poco a Poco." Among his many published works is An Essay Towards a Collection of Books Relating to Proverbs, Emblems, Apophthegms, Epitaphs and Ana (1860). "The obsessive nature of his collecting was exemplified by his large accumulation of emblem books, now in Glasgow University Library, which numbered around 1200. It was probably the largest collection ever amassed and its owner was one of the most important figures in the nineteenth-century revival of interest in emblems." (ODNB). References: Brunet III, cols. 767-768; Catalogue Destailleur, no. 325; Larousse, Grand dict. XIXe siècle, vol. X, p. 68; Macartney, Hilary, "Maxwell, Sir William Stirling" [in:] ODNB. Michaud, vol. XXII, pp. 518-519; NBG, vol. XXVIII, cols. 824-825; Rahir, Bibl. de l'amateur, 590. Plate Inventory: Part 1: 1-18; 20-22; 24-33; 35-50 (= 47 plates) Part 2: 1-6; 8-18; 20-29; 31-34; 36-42 (= 37 plates) Extra without number: "Le tableau et la vie exemplaire de ces deux amys" Part 3: 1-16; 18-30 (= 29 plates).

4to. pp. 8 p.l., 238, [2]. 68 full-page botanical etchings in the text. woodcut ornaments, initials, & title vignette. modern morocco (paper lightly browned, marginal dampstain to 2 leaves, ownership entries on title inked out although the date 1670 is clearly visible, it is this owner who appears to be the author of the ms. notes found in the text mostly in the appendix). bookplate of American botanist Edward Sandford Burgess. First Edition of the first Canadian flora and one of the earliest North American herbals. The author, Jacques Philippe Cornut, was professor of medicine at the University of Paris. Although he himself never visited New France, he was able to study specimens which were brought or sent back to France by explorers and Jesuits. Many were provided by Jean and Vespasien Robin who supervised the gardens of Henry IV and the garden of the Paris Faculty of Medicine, and from Pierre Morin and his family who owned several Parisian commercial nurseries. Eighty-six different species are described, thirty native to north-eastern America, a number of them for the first time. Among these is the Guernsey lily, so-named from its introduction into England some fifty years later when specimens were found on the island following the wreck of a ship lost en route from Cape Town with bulbs among the cargo (cfBlunt, The Art of Botanical Illustration, 1950). Also illustrated here for the first time are five South African bulbous plants. The sixty-eight finely executed botanical etchings have been attributed to Louis Vallet [1575-1657]. Appended to the main text is a catalogue of plants by Cornut entitled L Enchiridion botanicum parisiense, apparently the first made of the flora of the environs of Paris. Linnaeus made reference to Cornut's work several times in his Species Plantarum, and Charles Plumier named the genus Cornutia in the family Lamiaceae in his honour. "The fact that the Historia was grounded in medical botany is important to understanding the convention by which Cornut and his artist worked in producing and engraving the illustrations. Cornut's work stands near the end of a very old tradition of herbal literature, and the illustrations reflect a convention established in the mid-sixteenth century. At the same time, Cornut's illustrations were not printed from woodcuts, but from engraved copper plates, and his text reflected not only medical usage, but horticultural observations. The title of Cornut's work also suggests that he has at least attempted to prepare a regional flora, and he has prepared it by working with a living collection, a garden. These two aspects of Cornut's work, herbal on the one hand and regional flora on the other, mark it as transitional, between the Renaissance and the early modern period" (Victoria Dickenson, Drawn from Life: Science and Art in the Portrayal of the New World, page 80-81). European Americana 635/37. Bell C493. Blunt p. 102. Brunet, Suppt., 316-17. Dionne II 99. Gagnon II 519. Harrisse 59. Hunt 227. JCB II p. 255. Lande 157. Leclerc 705. Muller p. 36. Nissen 406. Pritzel 1894. Sabin 16809. TPL 4663. Vlach 183. Wellcome 1612.

4to., (8 6/8 x 6 2/8 inches). Half-title. Title-page with decorative woodcut border, final blank. Engraved plate of the coat-of-arms of Alessandro Farnese, dedication leaf, and preface leaf, large folding engraved general map of the Greek Archipelago, folding maps of Crete and Negroponte, and 46 full-page maps, that of Schiro with revised map pasted over the original, wood-engraved historiated initials and tailpieces (pale marginal waterstain throughout). 18th-century green morocco backed vinegar marbled paper boards, gilt, red morocco lettering piece, all edges gilt and gauffered (spine a bit worn, upper hinge starting). First edition of this magnificent little atlas of the Greek archipelago, with maps of most of the islands, including Crete, Megroponte, Rhodes, Myconos, Paros, Naxos, Kos, Patmos, and Lesbos, Mount Athos, the Argolid and the Gulf of Salamis, each accompanied by a short description.The outlines of the individual islands appear to be after those of Bartolomeo dalli Sonetti's Isolario, Venice, 1485. The map of Crete is based on that in Boschini's earlier work Il regno tutto di Candia. Boschini was a Venetian painter and engraver of the early Baroque period, famously painting The Last Supper for the sacristy of San Girolamo at Venice. Clearly he was also an accomplished engraver, and published several important works: La Carta del Navegar pittoresco, 1660, an encyclopedic work on Venetian artists, presented as a journey through the world of art, giving brief biographies of many of his contemporaries; Le minere della pittura veneziana, 1664 and Le ricche minere della pittura veneziana, 1674, both guides to Venice; I gioieli pittoreschi. Virtuoso ornamento della città di Vicenza (1676), a guide to Vicenza. He was also apparently an art dealer, acting as agent for cardinal Leopoldo de' Medici. The arms at the front of the book are of Alessandro Farnese, Prince of Palmer (1635-1689), a famous general and naval officer, who was Governor of the Habsburg Netherlands from 1678 until 1682. Some bibliographies call for a first edition of 1654, but this cannot be traced in online library listings. Blackmer 172; Nordenskiold I, 32; Shirley BL T.BOS-2a; cf E. Clutton, "Some seventeenth century images of Crete", Imago Mundi, 34 (1982). Catalogued by Kate Hunter.

Couverture souple. Etat : Très bon. RONSARD, Pierre de. LES UVRES DE PIERRE DE RONSARD GENTILHOMME VENDOMOIS PRINCE DES POETES FRANÇOIS. Revues et augmentées. Paris, Barthélémy Macé, 1617. Suivi de : RECUEIL DES SONNETS, ODES, HYMNES, ELEGIES, ET AUTRES PIECES RETRANCHEES aux éditions précédentes des uvres de P. De Ronsard Gentilhomme Vandomois. Avec quelques autres non imprimées ci-devant. Paris, N. Buon, 1609. 11 tomes en 5 volumes in-12 de: I/ (16) ff., 680 pp., (9) ff. de table, (1) f. bl. ; II/ (6) ff., 775 pp., (5) pp. de table ; III/ 223 pp., 164 pp., (1) f. de table, (1) f. bl., 182 pp. (1) f. de table, 147 pp., (2) pp. de table ; IV/ (6) ff., 392 pp. (mal chif sans manque 292), (1) f., (1) f. bl., 373 pp., (6) pp. de table, (2) ff. bl. ; V/ (127) pp., 326 pp. (mal chif. 316 sans manque), (1) f., 360 pp., (4) ff. de table, 12 ff. Vélin ivoire à recouvrement, titre calligraphié au dos, 1 f. déchiré et réparé, sans atteinte au texte. Reliure de l époque. 146 x 83 mm. EDITION COLLECTIVE AUGMENTEE DES UVRES DE RONSARD. « On y a signalé 3 sonnets qu on ne retrouve pas dans l édition de 1623. » (Brunet). « Elle contient en plus les commentaires de Richelet sur la seconde partie du IIe livre des Amours et sur une partie des Hymnes. » (Tchemerzine). Tchemerzine, V, 489-490 ; Brunet, IV, 1376; Laumonier, pp.74-76 ; LE RECUEIL EST BIEN COMPLET DE l'Abrégé de l'Art Poétique Francois. Exemplaire enrichi du frontispice de l édition Paris, Nicolas Buon, 1610 a apposé en regard du frontispice. « Son vers dit toujours quelque chose. Dans ses petites pièces, dans ses épitres familières, dans ses élégies, le style de Ronsard est non seulement irréprochable, eu égard au temps, mais encore plein de vigueur, de verve, d élégance et même de grâce ; son imagination est partout et toujours inventive, féconde, noble et hardie. Enfin c était un poète et un grand poète. Le recueil des uvres retranchées, qui ne fait partie que de l édition de 1617, n est joint que très rarement aux exemplaires des autres éditions. » (Viollet Le Duc). « Par l ampleur de son uvre, la variété de ses thèmes, la maîtrise des rythmes les plus divers, Ronsard est bien l astre majeur de cette pléiade qu il constitua avec son maître Dorat, ses amis Baïf, Du Bellay, Belleau, Jodelle et Tyard. Jamais poète officiel (il le fut à partir de 1558) ne représenta mieux l art de son pays, ni ne fut plus révolutionnaire en son temps. » (C. Bonnefoy). Pierre de Ronsard, Vendômois, peut revendiquer, le double titre de prince des poètes français et de premier poète français moderne. Il est, en effet, le premier pour lequel on puisse dessiner la courbe d'une vie, dont chaque étape est marquée par une uvre nouvelle et une transformation de la poésie. EXEMPLAIRE GRAND DE MARGES CONSERVE DANS SES SEDUISANTES RELIURES EN VELIN IVOIRES DE L EPOQUE. Provenance : Bibliothèque Bordes de Fortage avec ex-libris et cette mention manuscrite (autographe ?) sur un feuillet de garde « de 1589 à 1630 il a paru dix éditions posthumes, des uvres complètes de Ronsard. Celle-ci est la huitième et la plus complète d après Blanchemain » signé « Bordeaux, 6 novembre 1891. L. Bordes de Fortage ».