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

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

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).

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

A life-sized, hand-coloured photograph of the famous world map made around 1450 by Fra Mauro, the greatest medieval map of the world and the largest surviving European map of such an early date: an astonishing accomplishment of art history, cartography and photography. Perhaps the largest photograph ever made at the time, the "Naya Fra Mauro" belongs to a class of colossal early photographs that includes Eadweard Muybridge s 13-sheet panorama of San Francisco (1878) - though each sheet measured only about 46 x 55 cm - and George R. Lawrence s photograph of the Alton Limited on a 244 x 137 cm glass plate (1899). It also appears to be the first large-format map produced photographically.Fra Mauro s map is "considered the greatest memorial of medieval cartography" (Almagià). Containing hundreds of detailed illustrations and some 3000 descriptive texts, it was the most detailed repres-entation of the world so far produced. It remains one of the most important works in the history of cartography, marking the end of Bible-based geography in Europe and the new embrace of more scientific methods that placed accuracy ahead of religious or traditional beliefs. Strikingly, it is oriented with south at the top, recalling the Arabic tradition and more specifically al-Idrisi s famous 12th century world map, copies of which Fra Mauro may have known: Europe is shown at the foot, and Africa and Asia dominate the image, with Arabia (not Jerusalem) at the centre. Fra Mauro incorporated "the discoveries of Marco Polo and the Portuguese" as well as "many countries later known, which the learned monk doubtless shaped after ideas gathered from the oral narratives of occasional travellers" (Müller). Much of the map s novel information was lost to early modern cartographers when printed Ptolemy atlases proliferated in the final decades of the 15th century, replacing the manuscript mappa mundi tradition.Today the original Fra Mauro Map, drawn on vellum, is held by the Biblioteca Nazionale Marciana in Venice and shown at the Museo Correr. The British antiquarian William Frazer prepared an impressive manuscript facsimile in 1804, now in the British Library; a large engraving was made in Paris in 1849, and in 1869 the Venetian bookseller Münster produced the first photographic reproduction, albeit at a much smaller scale, measuring a mere 62 × 68 cm. Carlo Naya s monumental Fra Mauro photograph renders the map in its full original size. Although it is mentioned in a number of books on early Italian photography, it was always extremely rare: the only photographic copies of the map ever to have surfaced in the trade were that of Münster (lot 1581 at the 1884 sale of the library of Henry C. Murphy, U.S. ambassador to the Netherlands under Lincoln) and the more common four-print photofacsimile published in 1879 by Ongania (E. P. Goldschmidt, cat. 22, London 1930, lot 32). By contrast, Naya s magnum opus was never sold except through his own concern. The Royal Geographical Society was presented with a specimen in 1873 (the gift of John Benjamin Heath, once Governor of the Bank of England), and the British Library holds another, as does the Marciana (all uncoloured). National Library of Wales, Aberystwyth, has a very fragile and faded example, cut into 16 sheets and mounted on modern paperboard.Carlo Naya (1816-82) was an Italian photographer known for his fine views of Venice. He settled there in 1856, opening a photo studio that catered to "grand tourists" who wished to take home mementoes of the city s spectacular art and architecture. His mappa mundi photograph was prepared around 1871 under the supervision of the Venice-based English historical scholar Rawdon Brown (1806-83), a friend of Ruskin s. Naya exhibited his photograph at the 1873 World s Fair in Vienna, winning a medal for it. In the 1880s the Nayas were still advertising the map, the pride of the company, as a "fac-simile of the Planisphere of Fra Mauro A.D. 1459, the largest photograph hitherto made (a square 7 ft. 4 inch)". It was priced at a stupendous 200 francs. After Naya s death, his wife and then her second husband continued his studio for three and a half decades.With ink stamps of the publisher Osvaldo Böhm on the back of the photograph, who bought most of Naya s archive when the family closed the shop in 1918. Later the photograph was part of the collection of Dr. Edward Luther Stevenson (1858-1944), one of the most important scholars of early cartography active at the end of the 19th and the first half of the 20th century. Stevenson was responsible for numerous carto-bibliographic books, including the first translation of Ptolemy into English, as well as a series of impressive facsimile maps. Stevenson, who viewed reproductions as integral to the study of early cartography, committed himself to building an unparalleled collection of photographs of early maps and globes. Much of his collection was donated to Yale University after his death, but the present item comes from a large corpus of photos, manuscripts and related material retained by the family. In very good condition.l Almagià, Monumenta cartographica vaticana, vol. 1 (1944); Becchetti, Fotografi e fotografia in Italia 1839-1880 (1978), p. 124; Falchetta, Storia del Mappamondo di Fra Mauro (2016); Müller, Venice: her art-treasures and historical associations: a guide to the city (1873) p. 113; Zannier, Venice: the Naya collection (1981).

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

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

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

[10], 466, [6] ll.The first English edition of Ludovico di Varthema s famous account of his travels to Arabia, Persia and India: a highly important and adventurous narrative, first published in Italian as Itinerario nello Egypto, nella Suria nella Arabia deserta & felice in 1510, here published in English with other accounts of travels in exotic lands. All of the early Italian editions of Varthema's Itinerario, separately published, are extremely rare. Varthema, a gentleman adventurer and soldier from Bologna, left Venice at the end of 1502 for the Middle East. Impressed and fascinated, he describes not only rites and rituals, but also social, geographical, and day-to-day details. "I determined, personally, and with my own eyes", he declares in the prefatory dedication, "to ascertain the situation of places, the qualities of peoples . of Egypt, Syria, Arabia Deserta and Felix, Persia, India, and Ethiopia, remembering well that the testimony of one eye-witness is worth more than ten hear-says.". In 1503 he reached Alexandria, proceeded on an extensive tour of southwest Arabia and sailed from Ormuz to India. There he travelled along the entire coast of India from north to south and up to Bengal, passing the coasts of Malabar and Coromandel. He made stops at Cambay (Khambhat), Chaul, Dabul (Dabhol), Goa, Bijapur, Calicut (Kozhikode), Cochin (Kochi), Mangalore and many further places, even journeying inland into the Vijayanagara Empire: he is one of the first Europeans to describe the Hindu caste system and religion. He purports to have made extensive travels further east, around the Malay peninsula and the Moluccas. Whether this is true remains under debate. His next section about India however is certainly from his own experience. He returned to the great city of Calicut in August 1505, describing it in more detail than any other place in his account. There he took employment as a soldier and trader with the Portuguese and played a key role in the war with the Zamorin of Calicut. The Zamorin planned a naval attack on the Portuguese at Cannanore (Kannur) and when Varthema found out he decided to escape Calicut and inform the viceroy Francisco de Almeida (1450-1510) in Cochin. As a result the Portuguese were victorious in the naval battle with the Zamorin, which Varthema describes at length. Almeida awarded him a knighthood and took him into service in India, where he stayed for a year and a half. He left in 1508 and made his way back to Europe via the Cape of Good Hope. Varthema s account of his travels became a bestseller immediately on its publication in 1510 and was translated into Spanish and Latin before the present publication in English. "Varthema brought into European literature an appreciation of the areas east of India . which it had previously not received from the sea-travelers and which confirmed by firsthand observations many of the statements made earlier by Marco Polo and the writers of antiquity" (Lach, I. i. 166). "Varthema was a real traveller. His reports on the social and political conditions of the various lands he visited are reliable as being gathered from personal contact with places and peoples. His account of the overland trade is of great value in that we are made to see it before it had begun to give way to the all-seas route. He even heard of a southern continent and of a region of intense cold and very short days, being the first European probably after Marco Polo to bring back the rumor of Terra Australis" (Cox I, 260).No separately published English edition of Varthema s extremely important account of his travels appeared until 1863, but it appears for the first time as pp. 354-421 of the present History of travayle in the West and East Indies, one of the first English editions of the significant collection originally compiled by Pietro Martire d Anghiera (Peter Martyr, 1457-1526). The first translation of Martire (1555) covers only decades I-III of his De orbe novo, with some omissions, with additions from other sources, edited and translated by Richard Eden. Under the benefaction of the Earl of Bedford, Richard Willes, a member of the Jesuit Society from 1565 to 1572, expanded Eden s translation for the present edition, including, apart from Varthema s travels, decades I-IV and an abridgement of decades V-VIII of Martire; Frobisher s voyage in search of a Northwest Passage; Sebastian Cabot s voyages to the Arctic for the Moscovy Company; Cortez s conquest of Mexico; Pereira s description of China, 1565; Acosta and Maffei s notices of Japan, 1573; and the first two English voyages to West Africa. It is also the first account in English of Magellan s circumnavigation, as well as the first printed work to advocate the establishment of a British colony in North America. Provenance: Acquired from Quaritch in 1975 by Gregory S. Javitch (1898-1980), a Russian-born, Canadian leader in the land reclamation sector in Ontario. Javitch formed an important collection of 2500 items that he called "Peoples of the New World", encompassing both North and South America, which was acquired by the Bruce Peel Special Collections at the University of Alberta. It was considered the finest such private collection in Canada at the time and formed the cornerstone of the library s special collections. The present volume remained in Javitch s private collection and was acquired directly from his heirs.Washed (but not aggressively and not pressed), minor repairs to the title-page (not affecting the text), retaining some slight discolouration and small stains in a few leaves. Otherwise in very good condition and with large margins.l Howgego M65. Brunet I, 294. OCLC 5296745. LCCN 02-7743. Alden, European Americana 577/2. Church 119. Streeter Sale 24. Arents 23. Borba de Moraes, p. 33. Hill 533. BM-STC 649. Sabin 1562. Cordier, Japonica 71. Field 485. Not in the Atabey or Blackmer collections.

4to (210 x 135 mm). French manuscript on paper. 90 ff. Flemish Bastarda in black ink, 26 lines. Bound with 16 strictly contemporary specimens of Turkish silhouette paper, a series of 28 watercolours, heightened in gilt and two extensive, early 19th century manuscript additions (complete transcript of the the travelogue and a biography of the author). Slightly later vellum with ms. title. Unique, fascinating and unpublished manuscript containing the account of a diplomatic journey to the Ottoman Empire in 1570. Braeckle (1540-71), a Flemish physician, "assisted Charles Rym Baron de Bellem, Ambassador of Maximilian II in Constantinople, probably as a secretary. He wrote an account of his journey, which contains interesting details about the places he visited, the manners and customs of the inhabitants, incidents, etc." (Aug. Vander Meersch, in: Belgian National Biography II, 903). Leaving Prague on 13 March 1570, the mission passed through Vienna and then Hungary and Czechoslovakia before entering Ottoman territory, visiting the mosques and caravanserais of Sokollu Mehmed Pasha (c. 1505-79), Grand Vizier of Sultan Selim II (1524-74) who ruled the Turks at the time of Rym's and Braeckle's journey. Their stay in Constantinople lasted from 31 May to 12 August 1570, permitting the author to describe several monuments and works of art. During the journey back they travelled through Bulgaria, Serbia (they were held in Belgrade for nearly a month), and Hungary. The mission ended with their return to Germany on 23 October 1570. Jacques de Braeckle died shortly afterwards, in 1571. - The ms. is accompanied by a beautiful set of 28 original watercolours heightened in gilt. Showing Turkish people in traditional costumes, such illustrations were usually fashioned for sale to travellers in Constantinople or passed on to western merchants. However, as the present set includes the caravanserai of the diplomatic legation, it is extremely likely that these were created with the sole purpose of illustrating the diplomatic mission of Charles Rym, described within the present manuscript. The figures are captioned next to the subjects (16th century Italian script in black ink), indicating that the legends were recorded after the plates were collated and sewn together, or that they were included in books before insertion into the present volume. Among the illustrations are the caravanserai of the ambassadors to Constantinople, Sultan Selim II, the Mufti, costumes of Ottoman dignitaries and the military, a Persian, a Moor of Barbary, a lady in burqa, a Bulgarian, a giraffe, etc. The author of the Italian captions may have been the ambassador Edoardo Provisionali: he was responsible for several diplomatic missions and is known to have appreciated the Ottoman culture; furthermore, de Braeckle left Constantinople in his company (cf. Yerasimos). The manuscript is also bound with 16 remarkable specimens of 16th c. Turkish paper (title in French in pen on the first sheet: "papier de Turquie"). At the beginning of the volume is a transcription, calligraphed in an elegant French cursive of the early 19th century (18 unnumbered ff., black ink, 21 lines per page). The volume ends with a short biography of the author (2 pp., black ink, with the arms of de Braeckle). Yerasimos provides a detailed chronology of the journey, listing the major cities visited as well as monuments and curiosities noted by the travellers. - Only three manuscript copies of the present travelogue are recorded, mostly restricted to family use: two copies are in the National Archives of Belgium in Brussels (Fonds 692 Lalang, 8f., cf. Yerasimos); a third copy is bound in a miscellany and kept at the communal Archives of Ghent. - Binding rubbed, spine detached, in excellent condition internally. - Stéphane Yerasimos, Les Voyageurs dans l'Empire Ottoman (XIVe-XVIe siècles), Ankara, 1991, pp. 286f. Not in Blackmer or Atabey.

[10], [8], [11] ll.Magnificent copy of one of the rare 1608 editions, with the German title, English dedication and note to the reader and text in English, French, German and Dutch. Known in English as The exercise of arms, it was written and illustrated by Jacques de Gheyn and quickly became a famous pictorial army manual for use of officers to teach the young recruits how to handle their weapons: the arquebus (part 1), musket (part 2) and pike (part 3).It gives an excellent picture of the successful army of the Dutch Republic after its reform by Prince Maurits, who (re)introduced exercises and discipline. It also immortalizes Prince Maurits as a military thinker and commander of the most disciplined army of his age.The book met immediate success and makes a considerable contribution to our knowledge of military history. Fully coloured copies like the present were produced largely for princes and other important persons and were probably coloured by De Gheyn himself who was certainly responsible for the high standard of the colouring.In the 18th century our copy was owned by and bound for Charles Philippe Theodore Count Palatine de Sulzbach (1724-1799), Duke of Bavaria, Jülich, Kleve and Berg, Prince of Mörs, Count of Veldentz, Lord of Ravenstein and last Margrave of Bergen op Zoom (1733-1794), with his and his wife's coat of arms on each board.The slips on the title-page have browned slightly and there is occasional minor soiling, mostly in the lower right margin, but the book is in very good condition. A magnificently coloured copy of a work of major importance in military history.l Meij, Jacques de Gheyn II als tekenaar, p. 12, nos. 15-20 (pp. 45-47); New Hollstein, The De Geyn Family II, 340-457.

Oblong 4to (287 x 228 mm). 1 page, meticulously notated in 38 bars on five systems of two staves. Annotated in a 19th-century hand "copié par Chopin", loosely matted. Stored in a custom-made red morocco portfolio with cut signatures of Arthur Rubinstein (1931) and Vladimir Horowitz (1978), famed as interpreters of Chopin's music. Two short piano works inspired by Polish folk music. Kobylanska considers that whilst both works are signed by Chopin, they are too unsophisticated to be his own compositions, and are perhaps transcriptions of Polish folk tunes: "Beide Stücke sind zwar mit Ch signiert, in ihrer ganzen Art jedoch zu primitiv, als daß man sie für eigene Kompositionen Chopins halten könnte. Wir ordnen sie in dieses Kapitel ein, da es sich vielleicht um Übertragungen von polnischen Volksweisen handeln mag." If so, it is fascinating not only to see Chopin in the posture of an ethnomusicologist some sixty or more years before the pioneering research of Bartók and Kodály, but also that the resulting works, notated with his characteristic exquisite neatness, should be granted the imprimatur of his discreet, repeated signature. - Provenance: 1) collection of the actor, director and playwright Sacha Guitry (1885-1957); his sale, Drouot, Paris, 21 November 1974 (lot 15); 2) collection of the Canadian chemist and physician Frederick Lewis Maitland Pattison (1923-2010), with his bookplate on the portfolio's inside front cover. - Krystyna Kobylanska, Frédéric Chopin: Thematisch-bibliographisches Werkverzeichnis (1979), VII b (Transkriptionen von Volksweisen), nos. 7 and 8. First published in Jean-Jacques Eigeldinger, "Un autographe musical inédit de Chopin", Schweizerische Musikzeitung / Revue musicale suisse, CXV/1 (Jan.-Feb. 1975), pp. 18-23. F. L. M. Pattison, "A Folk Tune Associated with Chopin and Liszt", Journal of the American Liszt Society 20 (1986), pp. 38-41. J. M. Chominski & T. D. Turlo, Katalog dziel Fryderyka Chopina (1990), p. 240 (Sketches, fragments, exercises): "Folk melodies meticulously recorded on a single sheet".

Hardcover. Etat : Fine. This historically significant manuscript is the 'First Zoological Inventory of Polynesia.' The work based on the research of Charles-Gaëtan Noury is entitled Frà gate la Sirene, commendà e par Mr. Noury Capitaine de Frà gate. Histoire naturelle. Voyage dans l'Oceanie, annà es 1847, 1848 & 1849. Iles de la Socià tà , Tahiti & Marquises, Nouka hiva and was unknown until 2017. The work was completed in France after 1850.The manuscript is in 6 volumes, one volume of text and five volumes with 458 illustrations (including 444 watercolors, 10 pen drawings, and 4 pencil drawings). Each illustration is mounted on card and often has French handwritten descriptors with local names. The five volumes with illustrations are bound in green half morocco with gold details and monogram of C.N. to the front boards. The text volume is bound in half-cloth. Also included in the lot is the manuscript published on behalf of the Belgian Academy of Sciences by Michel Jangou after the discovery of this one of a kind work of Noury's. Jangou's publication is entitled Voyage en Polynà sie (1847-1850): Le bestiaire oublià du capitaine Noury and was published in Brüssel in 2017 (available on Amazon as well).All of the illustrations and text were based on the scientific findings of Charles-Gaëtan Noury. It encompassed the entire animal kingdom of Polynesia creating the 'First Zoological Inventory of Polynesia.' Michel Jangou commented in his publication of the manuscript that "Noury produced a pioneering work, the first zoological inventory of Polynesia! He compiled it discreetly, with the invaluable help of a talented painter who remains anonymous. Since then, Noury 's manuscript and the watercolors which illustrate it have remained ignored by everything: it took more than a century and a half for the captain's work, still intact, to find the light and finally be revealed to us." (p. 39)Noury divided the animals into individual classes. The artist depicted the animals with brilliant colors and a mastery of detail. The manuscript depicted several previously unknown species. Watercolor number 183 features a detailed autographed commentary from Noury himself. Noury's text was mainly dedicated to his zoological findings with a smaller section on plants. The individual classes and sections are introduced by a summary table, which follows Milne Edwards zoological classification system of mammals, birds, reptiles, fish, ringed animals, insects, myriapods, arachnids, crustaceans, molluscs, and zoophytes. His descriptions were often enriched with island anecdotes.Charles-Gaëtan Noury (1809-1869) was a French naval officer and naturalist. He boarded the Sirà ne in Brest, France in 1846 as the deputy to Commander Lavaud. Lavaud had been appointed governor of the French settlements in Oceania. While Lavaud served as governor, Noury had command of the Sirà ne and stationed in Papeete (Tahiti). He dedicated himself to scientific research there and with the help of painters produced this remarkable astonishing manuscript.Noury had one work published in Nantes in 1861 entitled Album Polynà sien de M. C. Noury, Capitaine de Vaisseau which showed images of tattoos and artifacts of South Sea curiosities. This work with 15 plates is currently on the market at 25,000 EUR.This one of a kind manuscript from Noury offered here remained undiscovered for over 160 years. It features 458 illustrations and hand-written scientific text that make it a truly astonishing work for any collection.Additional photos available upon request. --- The work is in very good to excellent condition overall. The bindings are slightly rubbed. There can be some faint foxing to title or illustrations. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mounting Card Size ~ 16 3/8" by 11 3/8" Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mo. Signed by Author.

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

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

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

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

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.

Hardcover. Etat : g to vg. Original document. Originally published in 1953, "Battle Cry" is the enthralling first novel by legendary American author Leon Uris, best known for such classics as "Trinity" and "Exodus." Many of the events in the book are based on the writer's own World War II experience with the 6th Marine Regiment. Original typescript, screenplay and revised final shooting script with many manuscript annotations by Leon Uris: Bound by the "Hollywood Bindrey". - The original typescript of "Battle Cry" is bound in three volumes, in full decorative morocco bindings,with gold lettering to spines. Raised band. Each binding signed E. T. and dated 1973. Decorative endpapers. 800 of a total of 830 leaves have been underlined and / or annotated in pencil (regular and red) by Leon Uris. The three-volume typescript is housed in a matching olive cloth covered slipcase. Volume 1 with fly leaf handsigned by Leon Uris. Maquette of the first five pages bound in. [3], 9, 304 leaves, of which only nine have no annotations nor underlining. Volume 2 with fly leaf handsigned by Leon Uris. [1], 305-608 leaves, of which only thirteen have no annotations nor underlining. Volume 3 with fly leaf handsigned by Leon Uris. [1], 609-816 leaves, of which only eight have no annotations nor underlining. Leaves watermarked "Macadam Bond." "Battle Cry"'s patriotic spirit - "in contrast to war novels by Norman Mailer (The Naked and the Dead), James Jones (From Here to Eternity), Herman Wouk (The Caine Mutiny), Irwin Shaw (The Young Lions), and James Gould Cozzens (The Guard of Honor) - expressed a positive, supportive view of the military despite the carnage, confusions, and loss of life inherent in war. Patriotism not nihilism, heroism, not cowardice, defined its themes, which were welcomed by the marines and the public. All of this made the book a commercial success. Warner Brothers bought the film rights, and Leon Uris moved to Hollywood to write the following screenplay for the movie, which was released in 1955." (See: The New York Times, dated 6/25/2003, and Ira B. Nadel's "Leon Uris: Life of a Best Seller," pp. 52-67). - The original "Battle Cry" screenplay is bound in olive calf, with gold lettering and tooling to spine. Leon Uris' name in gilt to front cover. Raised bands. Marbled endpapers. Binding by Hollywood Art Book Bindery, in Los Angeles. [1], 157 leaves; Nine 8 x 10" original silver gelatin prints depicting behind-the-scene views; [3] leaves (Index to Breakdown), 3 leaves (Set List from Final Script dated 2/13/1954); 120 leaves (Daily Production Call sheets). Title page dated 11/30/1953 and annotated in blue ink by Leon Uris. Leaves 2 and 3 of the cast of characters annotated in pencil and blue ink. Extensive annotations in blue ink and or pencil to leaves 58 to 62, 64 to 67, 69, 71, 72, 76 to 107, 111 to 139, and 140 to 157. Laid in at rear, eight typed Test Scenes: "The Squad" (4 leaves), "Marion and Spanish Joe" (2 leaves), "Ski" (1 leaf), "Pat and Andy" (4 leaves), "Pat and Andy #2" (3 leaves), "Pat and Andy #3" (2 leaves), "Danny and Kathy (Alternate)" (2 leaves), and "Danny and Kathy" (2 leaves). - "Battle Cry - Revised Final" (shooting script) screenplay is bound in olive calf, with gold lettering and tooling to spine. Leon Uris' name in gilt to front cover. Raised bands. Marbled endpapers. As indicated at upper margin of fly leaf at rear, binding by Hollywood Art Book Bindery, in Los Angeles. This revised final screenplay is interspersed with sixty 8 x 10" original silver gelatin prints being movie stills (49) as well as behind-the-scene views (11) housed in plastic leaves bound in. Three photographs have a smaller size (5 3/4 x 8"). Ten of the 60 silver gelatin prints come directly from the Warner Bros Pictures Distributing Corporation, as captioned at lower margin. The title page dated 3/27/1954 is handsigned in light blue ink by the director Raoul Walsh, the assistant director Russ Saunder, production designer John Beckman, and technical adviser Colonel Jim Crowe. Two inserts, being hand-colored maps of Saipan and Red Beach, bound between leaves 125 and 126. The first four leaves of the revised final screenplay are handsigned and inscribed to Leon Uris by ten members of the cast, namely: Tab Hunter (Danny Forrester): "Mr. Uris, I loved the book "Battle Cry" and I only hope that I was able to capture a part of "Danny" in this film. Thanks for everything. My best, Always, Tab Hunter '54," Mona Freeman (Kathy - later Mrs Danny Forrester), Aldo Ray (Pvt. / Pfc Andy Hookens): "Leon - A great novel deserves a great filming, Here's Hoping!", William Campbell (Pvt. 'Ski' Wronski), John Lupton (Pvt. / Cpl. Marion 'Sister Mary' Hotchkiss), Justus E. McQueen (Pvt. L.Q. Jones), James Whitmore (MSgt. Mac / Narrator), Nancy Olson (Mrs. Pat Rogers), Rhys Williams (Enoch Rogers), Hilda Plowright (Mrs. Rogers - Pat's mother). Laid in at rear, a typed and handsigned 3-page letter from Los Angeles-based award-winning freelance journalist David Robb to Leon Uris. In this letter dated December 6, 2002 (six months before Uris' death), David Robb, the author of "Operation Hollywood: How the Pentagon Shapes and Censors the Movies" tells Leon Uris that after searching through 'thousands of pages of Pentagon documents - internal memos and correspondence between military officials and Hollywood producers,' he discovered a file in which the Pentagon had concerns about an aspect of Leon Uris' screenplay, namely, the racial friction depicted between two of the characters, Pedro and Speedy. After telling Uris that he wrote a powerful script that touched on a very sensitive issue, David Robb ends his letter by asking the author of "Battle Cry" the following seven questions: 1) How did you feel about this scene being cut from the movie? Did it bother you, or were you okay with it? 2) Did you fight to keep it in the movie? If so, to whom did you complain? 3) Who made the final decision to edit it out? Raoul Walsh? A studio executive? 4) Was there a real-life pe.

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

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

Large 8vo (ca. 140 x 203 mm). 105 ff. (without blank leaf 82), numbered in roman numerals, with 2 page-sized and 23 small miniatures as well as 3 large and 438 smaller initials, all in colours and gilt. Mostly 29 lines per page in an elegant black bastarda with red (and occasional gilt) headings and emphases; numerous rubrications and small initials in gilt on blue or red background. Leaves 101r-105r contain somewhat later additions in red and black ink; 2 unnumbered vellum leaves with a table of contents in red ink bound at the end (probably contemporaneous with the binding). Gatherings (ab8, c10, d-n8) and catchwords marked throughout by the scribe. Green satin binding, ca. 1550, with white silk pastedowns and vellum endpapers. All edges gilt. Stored in custom-made half morocco solander case. An uncommonly painstakingly prepared liturgical manuscript with remarkable illumination by the Parisian artist Jean Coene IV, known as the "Master of the Paris Entrances", probably commissioned for a nuns' order. Apart from the hundreds of initials, painted on gilt background and mostly decorated with flowers, berries, and leaves, the manuscript contains the following illustrations: folio 7v, St Jerome (28 x 30 mm); 19r, the Eucharist, with two nuns and a young clergyman in prayer at the bottom (148 x 102 mm); 20v, God enthroned, surrounded by the symbols of the four evangelists, a lower compartment showing 12 nuns and the same young clergyman in prayer (148 x 104 mm); 27r, Nativity (50 x 47 mm); 28v, Resurrection (37 x 34 mm); 29v, Assumption of Christ (42 x 46 mm); 40v, Madonna on a Crescent Moon (48 x 53 mm); 43v, the Virgin in the Temple (60 x 56 mm); 44v, Christ in the Temple (60 x 56 mm); 46r, Annunciation of Mary (41 x 43 mm); 48r, Visitation (65 x 53 mm); 49r Assumption of Mary (45 x 38 mm); 50v, God surrounded by the Saints (54 x 58 mm); 53v, John of Patmos (48 x 43 mm); 55r, St Benedict of Nursia (25 x 36 mm); 56r, St John the Baptist (48 x 45 mm); 57v, Mary Magdalene (44 x 39 mm); 59v, St Anne and the Virgin (45 x 44 mm); 62r, St Paul (28 x 29 mm); 64r, St Peter (23 x 24 mm); 74r, St Francis of Assisi (34 x 31 mm); 77v, St Adrian (28 x 30 mm); 78r, St Catherine and the Virgin (45 x 50 mm); 79r, Christ Crucified, with two saints (40 x 36 mm); 89r, a saint with a crozier and heart (23 x 23 mm). The miniatures are of exceptional quality throughout, showing delicate draughtsmanship and a stark but well-balanced colour palette. The emphasised name of St Dionysius (76rv) suggests that this splendid manuscript was commissioned by a Paris monastery, very possibly a Benedictine convent (as may be inferred from the illumination of this saint, fol. 55, as well as from the habit of the nuns depicted in the two page-sized and several of the smaller miniatures). The young male oblate seen in the two large illustrations is very likely a self-portrait by the artist. - Jean Coene IV was a Paris-based illuminator much in demand during the first two decades of the 16th century, a contemporary of the artist Jean Pichore, with whom he collaborated repeatedly. He is known as "Maître des Entrées parisiennes" for his series of illuminations prepared on the occasion of the entrances of Mary Tudor as wide of King Louis XII of France and of Claude de France as wife of François I. - Spine somewhat rubbed with light traces of worming. Folios 79v, 80 and 81 are numbered and ruled but remained blank (as was the lacking folio 82); tiny cuts in the vellum of ff. 83-85 bear witness to the knife that excised the preceding leaf. A very short repair to the edge of fol. 27, very occasional insignificant ink or paint smudges. A few quire signatures trimmed at the lower edge, but otherwise quite exceptionally well preserved with wide margins, clean and without any abrasions to the paint; the illuminations appear outstandingly crisp. We are indebted to Dr Isabelle Delaunay, Paris, for her help in identifying the artist. - Provenance: 1) likely Parisian Benedictine convent; 2) early note on the manuscript on verso of front flyleaf; 3) recto of front flyleaf inscribed by a royal official Coucault (?), dated Saumur, 2 Oct. 1706; 4) front pastedown has an old note of the acquisition price, as well as 5) the woodcut bookplate (printed in red) of the Belgian printer and art dealer Jean-Baptiste Verdussen (1698-1773), who collection was dispersed by sale in 1776; 6) sales notice clipped from 1951 Librairie Lardanchet catalogue tipped in to flyleaf; 7) last sold at Hartung & Hartung's sale 62 (1990), lot 16. - For the artist cf. I. Delaunay, "Le Maître des entrées parisiennes", in: Art de l'enluminure 26 (Sept.-Nov. 2008), pp. 52-59, 62-69; for the identification with Jacques Coene cf. E. König, Cat. Tenschert 1997, pp. 306-309, 320, and M. Orth, Renaissance Manuscripts: The 16th Century (2015), cat. 19-22.

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

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

Signed. Original L S Lowry Oil on Board of His Dearest Friend Rev Geoffrey Bennett. Hand signed L S Lowry to lower left. Geoffrey Bennett was one of Lowry's very closest friends, lifelong in their friendship meeting as bank clerks in Manchester in the 1930s. When Bennett moved to West Cumbria in 1939, the two would contiue their friendship through regular correspondence and meetings, with Lowry visiting the North West town many times. The previous owner of the present work, The Reverend Geoffrey Bennett (1902-1991) was a lifelong friend of the artist who assembled one of the most impressive collections of the artist's works. There was an old-fashioned formality about their relationship, they always referred to each other as 'Mr Lowry' and 'The Reverend Gentleman' (after his ordination as an Anglican clergyman in 1962) and when Lowry died in February 1976, Reverend Bennett conducted the funeral service. The sale of the Reverend Bennett's collection was held at Christie's, London, on 23 March 1995. The 13 lots totalled £528,440: a record-breaking auction which changed the Lowry market. The proceeds from the sale were divided equally to go to the impoverished clergy and the restoration of Carlisle Cathedral. This is a unique portrait - an exceptionally scarce original L S Lowry oil painting gifted by Lowry on a visit to his friend. The board is approx 350mm x 250mm. Lowry's signature is clear and is countersigned to the verso with various extra notes, some in the artists hand and associated reference numbers. A unique signed Lowry personal painting which would look incredible framed and mounted. The artwork has marks and wear over the years, including surface marks, edgewear, some loss of paint in areas, pin holes to corners. Overall the piece is in good condition and certainly would benefit from being framed. Signed Lowry original art like this is seldom found. This is 100% authentic with an original letter of authenticity. Genuine L S Lowry signed original drawing. Buy your genuine signed L S Lowry originals and signed Lowry drawings and artwork and Lowry autographs from the home of L. S. Lowry originals and the no.1 memorabilia experts here at RARE AND SIGNED. Highly collectable and a surefired investment. Signed by Illustrator.

[2 blank], [34]; [5 blank], [62 incl. a few blank], [1 blank] pp. plus 8 double leaves of decorated paper and [36], [4 blank]; [2], [2 blank] pp. of 18th-century additions.A unique, fascinating and unpublished manuscript containing the account of a diplomatic mission to Constantinople in the Ottoman Empire in the year 1570. De Braeckle (1540-1571), a Flemish physician, assisted Charles Rijm (Karl Rym), Baron de Bellem (ca. 1533-1584), Maximilian II's ambassador to Constantinople, probably as his secretary. He wrote an account of his journey, which contains fascinating details about the places he visited, the manners and customs of the inhabitants, incidents, etc. Leaving Prague on 13 March 1570, the delegation passed through Vienna, Hungary and Czechoslovakia before entering Ottoman territory, where they visited the mosques and caravanserais (inns) of Sokollu Mehmed Pasha (ca. 1505-1579), Grand Vizier of Sultan Selim II (1524-1574) who ruled the Turks at the time of Rijm and Braeckle's journey. From 31 May to 12 August 1570 they stayed in Constantinople, where De Braeckle describes several monuments and works of art. He returned via Bulgaria, Serbia (the party was held in Belgrade for nearly a month) and Hungary, arriving on 23 October 1570. He died shortly afterwards, in 1571.The set of 28 beautiful original drawings in pen, coloured gouaches and gold begins with a view of the caravanserai for the ambassadors to Constantinople, then shows mostly costume figures. Although similar illustrations were sometimes made for sale to travellers in Constantinople or passed on to western merchants, the inclusion of the delegation's caravanserai suggests this set was produced to illustrate Charles Rijm's diplomatic mission, described in the accompanying text. Each of the 8 half-sheet specimens of Turkish decorated "silhouette" paper has four vertical rectangles in reddish brown in the centre (perhaps intended for two columns of written text on each page) and yellow-green plant silhouettes around the margins. Haemmerle shows a similar example in a book of Turkish costume drawings from ca. 1580, also with the silhouette paper folded to make two leaves.Only three manuscript copies of the present travelogue are recorded, probably intended for members of De Braeckle's family. In very good condition.l Stéphane Yerasimos, Les voyageurs dans l'Empire Ottoman (XIVe-XVIe siècles), (Ankara, 1991), pp. 286-187; nothing similar in Atabey; Blackmer; for the "silhouette" paper: Haemmerle, Buntpapier, pp. 39-41, fig. 25 illustrating a similar example from ca. 1580.

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

Al Molto Mag.co Sig.or Gio. Pietro Contarini del Cl.mo Sig.or Bernardo Sig.or et patron mio sempre oss.mo Le molte et infinite cortesie usatime da. V.M. mi astrin-gono a pensare continuarmente, con qual uia possa dimostrarle un picciol segno della infinita obligatione, che ho uerso V.M. per la qual cosa, hauendo io questi di addietro intagliata l'America, con un gran parte della Florida, da tutti com-munanmente detto il Mondo nuouo, ho uo;uto farla andar fuori soto l'honorato nome di V.M. Di V.M. prontissimo Seruitore Paulo di Forland da Veron. LA. DESCRITTIONE. DI. TVTTO. IL. PERV. Single sheet, float-mounted and framed (21 x 15 inches; 20 1/8 x 14 4/8 inches to the neat line, full margins showing the plate mark). EXCEPTIONALLY FINE AND DETAILED ENGRAVED MAP OF SOUTH AMERICA, showing the whole of Florida in the northwest, some of the Gulf of Mexico, some of Central America, Bermuda and the West Indies, and all the way south to Terra del Fuego, the ocean decorated with a compass rose lower left, the title and dedication within a fine mannerist strapwork cartouche upper right THE FIRST LARGE-SCALE DELINEATION OF SOUTH AMERICA TO APPEAR IN PRINT The two leading cartographic figures in the Lafreri school were undoubtedly Giacomo Gastaldi (ca.1500-1566), arguably the greatest cartographer of the period, and Paolo Forlani (fl. 1560-1571), the leading engraver/mapmaker of the day, with a great artistic sensibility, both of whom worked in Venice. Forlani, was responsible for some of the most beautiful and visually appealing maps of his time, the most important and impressive of which is undoubtedly his "La descrittione di tutto il Perv", the first large-scale delineation of South America to appear in print and the only Lafreri school map of South America. A landmark in the mapping of South America, this is the largest and most detailed delineation of that continent published to date, the map also includes most of the West Indies and the southern extremity of Florida, a large Tierra del Fuego, and all the Caribbean islands. Unfortunately, with the rise of Antwerp as a major cartographical centre, this map did not have the long-term influence it deserves, although it is a standard feature of Italian atlases of the period. For the geographical information, Forlani drew in large part on the world map published in 1561 by his eminent colleague Giacomo Gastaldi, the most accomplished cartographer of sixteenth-century Italy. Following in the footsteps of his great colleague Giacomo Gastaldi, Paolo Forlani was a Venetian engraver and publisher of many significant maps and charts in the period of the Renaissance. It was in Italy, and particularly in Venice, that the map trade, which was to influence profoundly the course of cartographic history, was most highly developed during the first half of the 16th century. Venice was the most active port in the world, and successful trading expeditions necessitated accurate maps. Venetian ships made regular trading voyages to the Levant and into the Black Sea, to the ports of Spain and Portugal, and along the coasts of Western Europe. In the 15th century the city had already become a clearing-house for geographical information, and the development of cartography in the city was further impelled by the accomplishment of Venetian printers and engravers. Forlani was perhaps the most prolific producer of maps in the mid-16th century, and largely responsible for diffusing advanced geographical information to other parts of Europe. He was much-sought after as an engraver and mapmaker, particularly as he was adept at the difficult art of engraving lettering. Consequently, he was employed by four of the leading publishers of the period to prepare maps for them: Giovanni Francesco Camocio, Ferrando Bertelli and Bolognini Zaltieri from Venice, as well as Claudio Duchetti from Rome. This map is a rare example of Forlani's original work, and it had a seminal influence on subsequent cartography of the western hemis.

Extremely rare and in prime condition. Located in Paris. Complete set of 11 volumes of plates, the Imperial Edition published in Paris on the orders of Napoleon I, first by the Imprimerie Impériale, between 1809 and 1813, then by the the Imprimerie Royale from 1817 to 1829. 11 volumes, elephant folio (70 x 54 cm). The set is complete with 894 plates, of which 45 are coloured (32 in the Antiquités volumes and 13 in the Histoire Naturelle volumes). First 8 volumes (5 x Antiquités, 2 x Etat Moderne, 1 x Carte topographique) in a magnificent mid-19th century full-leather binding with elaborate gilding, made in England. The last 3 volumes (Histoire Naturelle) are bound in a modern full-leather imitating the first 8 volumes "à l'identique". All volumes have the edge of pages gilded on all three sides. The plates are in fine condition, with very limited foxing on a few plates only and limited to the edge. In Etat Moderne tome II, Plates i and k have a small humidity stain on bottom right margin not affecting the drawings. Altogether in exceptionally fine condition. The set has been collated and is complete, as follows: Volume I (Antiquités, tome I, 1809): Frontispice, Page de Titre, Explication du Frontispice, Préface Historique (pages i à xcii), Avertissement (pages 1 à 8), Explication des Planches (28 unnumbered pages on 14 leaves), carte, Planches 1 to 97 (15, 16, 18, 44 & 70 in color) + an additional Plate 79a + a Plate A after Plate 95 (there are two Plates 79a, one of which is a line drawing of the other. After Plate 95, there is a Plate A, which is a line drawing) (total: 100 plates). Volume II (Antiquités, tome II, 1812): Explication des Planches (41 unnumbered pages on 21 leaves), Planches 1 to 92 (12, 37, 47, 48, 49, 50, 52, 58, 59, 72, 73, 74, 75, 82, 83, 86, 87, 88, 89, 90, 91, 92 in color). Volume III (Antiquités, tome III, 1812): Explication des Planches (21 unnumbered pages on 11 leaves), Planches 1 to 69 (11, 12 & 34 in color). Volume IV (Antiquités, tome IV, 1817): Avertissement, Explication des Planches (33 unnumbered pages on 17 leaves), Planches 1 to 72 (12 & 62 in color). 2 Plate marked A: one after Plate 19, one after Plate 20 (total: 74 plates). Volume V (Antiquités, tome V, 1822): Explication des Planches (44 unnumbered pages on 21 leaves), Planches 1 to 89 (none in color). Volume VI (Etat Moderne, Tome I, 1809): carte + planches 1 à 83 (the map on plate 26 has some red tracings delimitating the areas) (total: 84 plates). Volume VII (Etat Moderne, Tome II, 1817): planches 84 à 105 + Arts et Métiers: planches I à XXXI + Costumes et Portraits: planches A à K + Vases, Meubles et Instrumens: planches AA to NN (without JJ, never published) + Inscriptions, Monnoies et Médailles: planches a to k (without j, never published) (total: 88 plates). Volume VIII (Histoire Naturelle, tome I, 1809): Mammifères: Planches 1-7 + Mammifères Planche 1 (supplément); Oiseaux: Planches 1-14; Reptiles: Planches 1-8; Reptiles Planches 1-5 (supplément); Poissons: Planches 1-27 (total: 62 plates). Volume IX (Histoire Naturelle, tome II, 1817): Céphalopodes: Planche 1; Gastéropodes: Planches 1-3; Coquilles: Planches 1-14; Annélides: Planches 1-5; Crustacés: Planches 1-13; Arachnides: Planches 1-9; Myriapodes (et Hexapodes-Aptères): Planche 1; Orthoptères: Planches 1-7; Névropteres: Planches 1-3; Hyménoptères: Planches 1-20; Echinodermes: Planches 1-9; Zoophytes: Planches 1-3; Ascidies: Planche 1; Polypes: Planches 1-14); Algues: Planches 1-2 (total: 105 plates). Volume X (Histoire Naturelle, tome II bis, 1826): Botanique: Planches 1 to 62 (59 in color); Minéralogie: Planches 1-15 (1-5, 7-9, 12-15 in color) (total: 77 plates). Volume XI (Carte Topographique, 1828): Map of Egypt + Table + Feuille 1-5 + Feuille 1-47 (total: 54 plates). After giving up on the planned invasion of the British Isles in 1797, Bonaparte wrote to Bourienne : "If the success of an invasion of England looks doubtful, as I fear it, the Army of England will become the Army of the Orient, and I go to Egypt". The Institut National de France had been founded in 1795 with the aim of "collecting. the discoveries, improve arts and sciences". An expedition to Egypt was proposed by Talleyrand and despite the resistance of the Directoire, the expedition of the Orient was finally constituted on April 12th, 1798. Napoleon left with 280 ships, 54,000 men and the best generals, not only his companions of the Italian campaign: Berthier, Murat, Lannes, Davout, Marmont, Duroc, but also with Kléber and Desaix. Bonaparte had a true interest in sciences: he had been elected a member of the Institut National in the section for physical sciences and mathematics. Monge, Berthollet, Fourier, Geoffroy-Saint-Hilaire. altogether 150 scholars joined enthusiastically the Commission des Sciences et Arts de l'Armée d'Orient. In this commission, all branches of science were represented, thus a large scientific and artistic material was put on board of the ships in Toulon: laboratory of physics, aerostation material, chemistry cabinet, surgical instruments, as well as a printing press. While the military expedition resulted in a disaster, the results of the scientific and artistic work gave birth to the Description de l'Égypte. Published over more than 20 years mostly by the scholars and artists who had taken part in the Expédition, the Description de l'Egypte became the largest and most beautiful publication of the 19th century. Language: French. This set ships from Europe, shipping costs will be updated accordingly (PHM). Relevant subjects: Egypt: Travelers & Egyptologists, Old Kingdom & 1st IP, Middle Kingdom & 2nd IP, New Kingdom, 3rd IP, Greco-Roman, Language, Texts & Writing, Pyramids, Tombs, Temples & Towns.

Original book dummy. Original book dummy. Designed and illustrated by Uriel Kahana. Cover design attributed to El Lissitzky. Illustrations and text-bands (the earlier typewritten ones overlaid by print-proofs) are mounted on the pages. With corrections, notes and other signs in black and red pencil. Together with two red-and-black proofs of the front cover design. With ten extra copies of illustrations (clipped), and one leaf with proofs of the signet of Tsil Tslil (the series of the publisher, in which the book appeared). The last leaf of the printed book is omitted from the dummy. 18 p. Book dummy of Arba'ah Teyashim, the Four Billy Goats, illustrations are attributed both to El Lissitzky and Uriel Kahana. The maquette includes identical illustrations to those in the printed edition, however, the text arrangement slightly differs. Twenty of the drawings are mounted onto the pages of the text band, the publisher's signet, and a city landscape - appear on the title and the last pages in print - are presented separately, just as the extra copies of eight further illustrations. The collection also includes a sheet with five print proofs of the Tsil Tslil signet, Tarbut's children's book series. The illustrations are deeply in the manner of Lissitzky's famous Had Gadya (1919) and Yingl tsingl khvat (1922), and those less fancy drawings for the children's books by Benzion Raskin, such as Der Ber, Di Hun [.], or Der Milner [.]. The cover motif (two proofs are included) - an arrangement of Hebrew letters as architectural elements in a dynamic design, printed in red and black - unambiguously attributed to El Lissitzky by many sources, clearly mirrors Lissitzky's contemporary Proun typography. (Perloff 1998) Alexander Kantsedikas, in his thorough and detailed monograph about Lissitzky's Jewish period - a book co-published by the El Lissitzky Foundation - presumes that, although the illustrations are attributed to Uriel Kahana, they might have been created by Lissitzky. Kantsedikas points out that "the book itself was one of eleven written by Ben Zion Raskin that Lissitzky had agreed to illustrate according to a contract signed in 1919. Several publications on Lissitzky's work mention the cover and illustrations of Arba'ah Teyashim [Sophie] Lissitzky-Küppers, El Lissitzky: Life, Letters, Texts [London: Thames and Hudson, 1967], ill. 15; Tschihold; Kazovsky. However, the title page clearly attributes these works to another artist, Uriel Kahana, and hence the book Me-'achrone Ha-dor: 'Uri'el Kahan'a, 'Adrikhal, Tsayar, Me'atsev [From the Last of the Generation: Uriel Kahana, Architect, Painter, Designer; in Hebrew] (Ra'anana: Kahana, 2003) also includes them as part of the latter's oeuvre. [.] (Kantsedikas 2018; p. 130, note 6) The present book dummy is from the collection of Uriel Kahana, which enhances the possibility that the illustrations are by Kahana, however as Kantsedikas also points out "[i]n 1922, when Arba'ah Teyashim was published in Warsaw by Tarbut, Uriel Kahana (1903-1965) was 19 years old and on his way to Palestine. Only a year later he graduated from the Herzliya Hebrew Gymnasium. In 1933 Kahana earned a diploma in architecture from University College London. During his career he was not known for book illustrations. Hence the question of whether these particular book illustrations should be attributed to Kahana or Lissitzky remains controversial until today. Those who attribute the illustrations to Lissitzky point to a high degree of correspondence with his recognized style of the period. On the other hand, these illustrations do not necessarily reach the same artistic level." (Kantsedikas 2018; p. 130, note 6) The cover design is included in the collections of MoMA and the Getty Research Institute under Lissitzky's name. Provenance: The Uriel Kahana Collection Ref.: MoMA 563.1977; Getty Russian Modernism 452 Bibl.: Kantsedikas, A.: Lissitzky: Jewish Period 1916-1919. Unicorn Publishing, 2018.; Perloff, N., [et al.]: Monuments of the Future: Designs by El Lissitzky. Los Angeles: Getty Research Institute, 1998.; Tschichold, J.: Über El Lissitzky. In: Imprimatur III. Ein Jahrbuch für Bücherfreunde. Gesellschaft der Bücherfreunde zu Hamburg, 1932. pp. 97-112.; Woodruff, D.; GrubiÅ¡iÄ , L.: Russian Modernism: The Collections of the Getty Research Institute for the History of Art and the Humanities, I. Santa Monica: Getty Research Institute for the History of Art and the Humanities, 1997. p. 96.; Some of the mounted text-bands are creased (those not pasted, kept separately). Leaves are chipped at edges. Paper yellowed due to aging. Slightly dusted and stained because of the glue used to paste the illustrations and the text-bands. Overall in good condition. Designed and illustrated by Uriel Kahana. Cover design attributed to El Lissitzky. Illustrations and text-bands (the earlier typewritten ones overlaid by print-proofs) are mounted on the pages. With corrections, notes and other signs in black and red pencil. Together with two red-and-black proofs of the front cover design. With ten extra copies of illustrations (clipped), and one leaf with proofs of the signet of Tsil Tslil (the series of the publisher, in which the book appeared). The last leaf of the printed book is omitted from the dummy.