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Edité par Paris, Maurice Lachatre et Cie, [1872-1875]., 1875
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Tall quarto (277 x 194 mm). Contemporary black quarter roan, dark brown pebble-grain cloth over boards, green page marker. 2 engraved title pages, 1 engraved portrait frontispiece with autograph, facsimile autograph letter from Marx to the publisher, dated 18 March 1872, with Lachatre's reply to verso, engraved head- and tailpieces. Text in two columns. First edition in French, first issue, a fine presentation copy, inscribed by Marx to the Frankfurt banker Sigmund Schott, with whom Marx exchanged ideas central to his philosophies and work: "Mr Sigmund Schott, de la part l'auteur, Londres, 3 Novembre 1877" to the first engraved title page. Presentation copies of Capital are exceptionally rare, with only seven others having been offered at auction in the last 60 years, just two of those being the first edition in French as here. Sigmund Schott was a German bank director and journalist. He was also a literary critic, bibliophile, and corresponded with some of the most important intellectual figures of the epoch. In certain editions of Marx's correspondence, Schott was misidentified as the German politician (1818-1895), with whom he shared the same name. As a result, the importance of the relationship between the young banker and the philosopher has perhaps been underexposed. Schott and Marx wrote to one another on a number of occasions over several months, and in the letter that originally accompanied the present volume - and bears the same date as the inscription: 3 November 1877 - Marx details his approach to constructing Capital. "Dear Sir," Marx begins. "My best thanks for the packages. Your offer to arrange for other material to be sent to me from France, Italy, Switzerland, etc. is exceedingly welcome, although I feel reluctant to make undue claims on you. I don't at all mind waiting, by the by, nor will this in any way hold up my work, for I am applying myself to various parts of the book in turn. In fact, privatim, I began by writing Capital in a sequence (starting with the 3rd, historical section) quite the reverse of that in which it was presented to the public, saving only that the first volume - the last I tackled - was got ready for the press straight away, whereas the two others remained in the rough form which all research originally assumes." Marx then goes on to mention the volume now offered: "I enclose a photograph herewith, because the copy of the French edition that goes off to you at the same time as this letter only contains a very far from flattering likeness done from a London photograph by a Parisian artist. Your most obedient Servant, Karl Marx." This letter, so frequently referenced in critical treatments of Capital, not only sheds light on the genesis of one of the most significant philosophical works to emerge in the last two centuries, but also underscores the author's openness and perhaps even his humour. Additionally, it offers an important contextual background for the presentation copy at hand. Given the nature of other examples of correspondence between the two men, it would seem that Schott and Marx regularly exchanged ideas pertaining to banking and social economy. In a letter sent from London, and dated 29 March 1878, Marx wrote to Schott: "I have, though somewhat belatedly, obtained Volume IV (Industrieactien) of the Saling, to which you so kindly drew my attention. I did not wish to reply to your letter until I had at length had time to run through the thing, and have found it very useful Finally, I have one more thing to ask of you, namely to be so kind, provided it is not too time-consuming, as to let me have a list of the names of Perrot's published writings on the subject of joint-stock companies, etc." Given the tenor of this letter, it would seem that Marx quite relied on Schott for information relating to the financial theories of the day, and that Schott was eager to supply Marx with literature relevant to his work. Le Capital was published in France in 44 "livraisons" between August 1872 and May 1875. Marx began revising Capital for the second German edition in December 1871, which was also the month in which Lachâtre agreed to publish a French edition. In January 1872 Marx recruited Joseph Roy to prepare a French translation and concluded a publishing agreement with Lachâtre. As well as making important revisions for the second German edition, Marx began "to revise, indeed rewrite, the translation" (Draper, p. 174) over the next three years. While the second German edition was published in 1873, Marx continued to exert strict control over the French edition, making additions and corrections to the galley proofs for the parts even as they were being published (Draper, p. 190). He was very clear about its unique value as distinct from the second German edition and strongly advised that even those familiar with the German language editions consult the French edition for further accuracy. For this reason these changes were "taken into account when at length the first English translation, by Samuel Moore and Edward Aveling, appeared in London, in 1887, four years after Marx's death, under the editorship of Engels" (PMM). When the final fascicule was printed in November 1875, the complete set was published in 10,000-11,000 copies. From certain indications found in the correspondence of Marx, it seems likely that the French government, who must have frowned upon the appearance of Das Kapital in French, tried to prevent its publication, which for a certain time was interrupted by the authorities. When the publication was finally completed, rumours abounded that its sale was to be forbidden and the publisher Lachâtre hesitated to sell copies. As noted, any presentation copy of Capital is exceedingly rare. - The volume present here ranks among the finest of these presentation copies. The correspondence surrounding it yields a particularly unique and significant sense of historical context, offering an important point of association related to one o.
Edité par John Murray, London, 1859
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale
First edition of "certainly the most important biological book ever written" (Freeman), one of 1250 copies. Octavo, bound in original cloth, half-title, one folding lithographed diagram, without advertisements. In very good condition with cracks to inner hinges and a touch of shelfwear. Housed in a custom clamshell box. A fine example of this landmark work. Darwin â revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been takenâ (PMM 344). â Without question a watershed work in the history of modern life sciences, Darwinâ s Origin elaborated a proposition that species slowly evolve from common ancestors through the mechanism of natural selection. As he himself expected, Darwinâ s theory became, and continues to be in some circles, the object of intense controversyâ (American Philosophical Society). â The five years [of Darwinâ s voyage on the Beagle] were the most important event in Darwinâ s intellectual life and in the history of biological science. Darwin sailed with no formal training. He returned a hard-headed man of scienceâ ¦ The experiences of his five years in the Beagle, how he dealt with them, and what they led to, built up into a process of epoch-making importance in the history of thoughtâ (PMM).
Edité par London, 20. III. 1872., 1872
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
8vo. 1 p. on single leaf. To the publisher Maurice Lachâtre concerning the dedication "To citizen Karl Marx" heading the first French edition of "Das Kapital" published between 1872 and 1875: "Dans le dernier paragraphe rectifié il y a ces mots 'ne se laisseront pas arrêter dans leur lecture par l exposition de vos méthodes analytiques'. Il y a ici un malentendu. Je n expose pas ma méthode mais je l applique dès le commencement, mais son application, dans les premiers chapitres, à l analyse de la 'marchandise', 'la valeur', 'l argent' est par la nature de la chose elle-même un peu difficile à suivre. Mais c est facile de changer 'ne se laisseront pas arrêter dans leur lecture par l application de votre méthode analytique aux premières notions de l économie politique qui par leur nature même sont très abstraites' - ou quelque chose comme ça - nous aurions avec cela fini avec les préliminaires. Ma photographie sera faite demain [.]" ("The last revised paragraph reads 'they will not let themselves be stopped from reading by the explication of your analytical methods'. This is a misunderstanding. I do not explain my method but I apply it from the beginning, but its application in the first chapters, analysing the 'commodity', 'value', 'money' is in the nature of things themselves somewhat difficult to follow. But it is easy to change to 'they will not let themselves be stopped from reading by the application of your analytical methods in the first notions of the political economy, which are by their nature very abstract' - or something similar - then we will be finished with the preliminaries. My photograph will be taken tomorrow [.]"). For the final version of the paragraph in question, Lachâtre rephrased Marx's suggestion more elegantly. - With a facsimile of Marx' letter "To citizen Maurice La Châtre", dated London, 18 March 1872, that was included among the preliminaries to the French edition of "Das Kapital" immediately before the editor's letter to Marx. - Slightly creased and buckled in the lower left corner. - Not in: Marx/Engels, Werke vol. 33 (Briefe Juli 1870 - Dezember 1874).
Edité par [Colombia: 1824-1827], 1827
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Signé
Oblong folio (10 x 14 2/8 inches). 30 EXCEPTIONALLY FINE drawings of which 18 are watercolor (no. 24 is in grisaille) and 12 are pencil (no. 21 faintly signed "Empson"), each with tissue guards (various sizes ca 7 x 9 inches), all mounted into an album, mounting leaves numbered 1-32 in a contemporary hand (no. 16 skipped in numeration, no. 31 removed). Contemporary dark green straight-grained morocco, with floral blind-tooled border and gilt-tooled frame, spine gilt, top edge gilt, pink silk markers (extremities a bit rubbed). Provenance: with the invoice of Francis Edwards dated October 1953, made out to; Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 96 This album of beautiful original watercolours is accompanied by Empson's published account of his journey to South America: "Narratives of South America; illustrating Manners, Customs, and Scenery" (London: A.J. Valpy & William Edwards for the Author, 1836), and the portfolio of illustrations "Fac-similes of Twelve Drawings of Tropical Scenery from Sketches made on the spot by Charles Empson", with 12 plates of which 10 are etched and 2 are lithographed, all hand-colored, and mounted on cards. Empson, a print and watercolour dealer in Bath, spent three years travelling the northern part of South America, for the most part in what is now Colombia, from 1824 to 1827. "The glorious descriptions of Humboldt had induced many persons who had no other motive beyond that of beholding Nature in all her majesty, to explore these regions so gorgeously clothed in primaeval vegetation, and so abundant in every production interesting to mankind. It was my happiness to associate with many travellers who had established themselves in the Republic before any of the European nations had acknowledged the independence of Columbia, and had shared in the vicissitudes of the revolutionary war; but they found ample compensation for all their privations in the inexhaustible variety of the new world. A field so rich, and so extensive, proved an irresistible temptation to the scientific man; the produce and commercial demands of so vast a continent were not less attractive to the merchant, while scenes of grandeur and beauty offered the most fascinating allurements to the imagination of the enthusiast." (Preface). Empson was accompanied by his friend Robert Stephenson, son of the famous railway engineer. They returned with precious objects of pre-Colombian art, including some gold artifacts which Charles later exhibited in Newcastle-upon-Tyne. Unfortunately, some of their possessions were lost in a shipwreck at the entrance to New York harbor. On his return Empson published his account of their adventures as "Narratives South America; Illustrating Manners, Customs, and Scenery: containing also numerous facts in Natural History, collected during a Four Years' Residence in Tropical Regions", 1836, illustrated with facsimiles of his original watercolour drawings, many of which feature in this album. 1: Fine watercolour drawing (6 4/8 x 9 4/8 inches) of the turbulent Rio Magdalena at Angostura with snow capped mountain range in the distance: "The rainy season was commencing as we left El Claro; the river rapidly swelled, and our progress was very slow: after sixteen days of hard toil, we reached Angostura, a place so called, as the river there is confined in a strait between rocks: there is at all times considerable difficulty in getting a heavy boat through this strait, but at particular seasons it is extremely dangerous. On our arrival, the river had swollen until the pressure of water above the Angostura forced the current through the strait with such violence, that it formed a cascade, or salto, as the natives call it." (page 249). 2: Fine pencil sketch (7 x 8 3/8 inches) of the Cocina or Kitchen subsequently lithographed for the published account: "The tenement represented in this sketch is variously denominated, according to the purposes to which it is applied: when the building is attached.
Date d'édition : 1836
Vendeur : Arader Galleries of Philadelphia, PA, Philadelphia, PA, Etats-Unis
Livre
N/A. Etat : Very Good. NICOLINO CALYO (1799-1884) The Philadelphia Water Works Gouache on paper, 44 1/4x59 1/2 in. Inscribed (on the back, twice), Fairmont Executed 1835-36 EXHIBITED: Philadelphia Museum of Art, Pennsylvania (n.d.); Philadelphia Museum of Art, The Fairmount Waterworks 1988, p. 29 illus. in color; p. 44 checklist EX COLL.: [Harry Stone, New York]; [Hirschl and Adler Galleries, New York, by 1984]; to corporate collection, until the present Nicolino Calyo's career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan army officer. (See the brief biographical sketch by Kathleen Foster, prefacing catalogue entry no. 257 in Philadelphia Museum of Art, Philadelphia: Three Centuries of American Art, exhib. cat., [1976], pp. 299-301.) Calyo received formal training in art at the Naples Academy. His career took shape amidst the backdrop of the political turbulence of early nineteenth century Italy, Spain, and France. He fled Naples after choosing the losing side of struggles of 1820-21, and, by 1829 was part of an Italian exile community in Malta. This was the keynote of a peripatetic life that saw the artist travel through Europe, to America, to Europe again, and back to America. Paradoxically, Calyo's stock-in-trade was close observation of people and places, meticulously rendered in the precise topographical tradition of his fellow countrymen, Antonio Canale (called Canaletto) and Francesco Guardi. In search of artistic opportunity and in pursuit of a living, Calyo left Malta, and, by 1834, was on the opposite side of the great Atlantic Ocean, in Baltimore, Maryland. He advertised his skills in the April 16, 1835, edition of the Baltimore American, offering "remarkable views executed from drawings taken on the spot by himself, . in which no pains or any resource of his art has been neglected, to render them accurate in every particular" (as quoted in The Art Gallery and The Gallery of the School of Architecture, University of Maryland, College Park, 350 Years of Art & Architecture in Maryland [1984], p. 35). Favoring gouache on paper as his medium, Calyo rendered faithful visual images of familiar locales executed with a degree of skill and polish that was second nature for European academically-trained artists. Indeed, it was the search for this graceful fluency that made American artists eager to travel to Europe and that led American patrons to seek out the works of ambitious newcomers. On June 16, 1835, the Baltimore Republican reported that Calyo was on his way north to Philadelphia and New York to paint views of those cities. Calyo arrived in New York just in time to witness the great fire of December 1835, which destroyed much of the downtown business district. He sketched the fire as it burned, producing a series of gouache images that combined his sophisticated European painting style with the truth and urgency of on-the-spot observation. Two of his images were given broad currency when they were reproduced in aquatint by William James Bennett. The New-York Historical Society owns two large Calyo gouaches of the fire. From 1838 until 1855, Calyo listed himself in New York City directories, as a painter, as a portrait painter, as an art instructor, and in partnership with his sons, John (1818-1893) and later, the considerably younger Hannibal (1835-1883). Between 1847 and 1852 Calyo exhibited scenes from the Mexican War and a panorama of the Connecticut River in New York, Philadelphia, Boston, and New Orleans. He spent some time in Spain as court painter to Queen Maria Cristina, the result of his continuing European connections, but by 1874 was back in America, where he remained until his death. Between 1819 and 1822 the city of Philadelphia dammed the Schuylkill River to build the Fairmount Water Works, intended to insure a clean water supply to the growing town. In 1844, the municipality began to.
Date d'édition : 1859
Vendeur : Maggs Bros. Ltd ABA, ILAB, PBFA, BA, London, Royaume-Uni
First edition. Folding lithographed table. 8vo. A very good copy in publisher's green cloth, headcap sensitively repaired, front free endpaper renewed, first quire a little ragged from opening, ownership inscriptions to half-title, some ms. marginalia to read free endpaper. Housed in a custom quarter morocco clamshell box. x, 490, [491-502 index], 32ads.pp. London, John Murray, John Murray originally printed 1250 copies of the book which ?caused a greater upheaval in man's thinking than any other scientific advance since the rebirth of science in the Renaissance? (Ernst Mayr). It is also considered ?the most influential scientific work of the 19th century? (Horblit) and ?certainly the most important biological book ever written? (Freeman). Despite its 490 pages, it was intended only as an ?abstract? of a far larger work. Yet for years Darwin had showed a marked reluctance to print anything on the subject of evolution. Although he developed his theory on the origin of the species in 1838, he communicated it to no one. In 1842 he drew up a rough sketch of the argument, expanding this into an essay only to be published in the event of his death. Once he had prepared the third part of the Geology of the Voyage of the Beagle for publication, he shelved the species question ?and started on eight tedious years' study? of living and fossil barnacles. His painstaking work on their structure and classification enabled him to acquire first-hand knowledge of the amount of variation to be found in nature. In April 1856 he described his theory of natural selection to Charles Lyell, and that summer began work on the book that Lyell urged him to write. On 18 June 1858 he received the shock letter from Alfred Russell Wallace which appeared to be ?a perfect summary of the views which he had worked out during the preceding twenty years? (DSB III, p.573). In a compromise that was fair to both, Darwin presented his own and Wallace's papers before the Linnean Society of London on 1 July 1858, and they were published together on 20 August of that year. Unable to squander any more time over the writing of his ?big book,? Darwin then set about writing the ?abstract? which we know as the Origin with the encouragement of Joseph Hooker. Its impact can hardly be overstated. Ernst Mayr writes in his introduction to the 1964 facsimile edition: ?The publication of the Origin of Species ushered in a new era in our thinking about the nature of man. The intellectual revolution it caused and the impact it had on man's concept of himself and the world were greater than those caused by the works of Copernicus, Newton, and the great physicists of more recent times . Every modern discussion of man's future, the population explosion, the struggle for existence, the purpose of man and the universe, and man's place in nature rests on Darwin.? A very good copy of this landmark work with the ads dated June, 1859. It was previously owned by the scientist Lancelot Albert Forscey, and John Rizzo Naudi. Dibner, Heralds, 199; Eimas Heirs, 1724; Freeman 373; Garrison-Morton, 220; Grolier Science, 32b; Horblit 23b; Norman, 593; PMM, 344; Sparrow Milestones, 49; Waller, 10786.
Edité par [London: for the publisher, ca 1807]., 1807
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Livre
Soft cover. Etat : Very Good. Broadsheets (22 2/8 x 17 4/8 inches). Engraved title-page "The Temple of Flora, or Garden of Nature.", dedication and contents leaves. 4 FINE stipple-engraved colour printed plates finished by hand including a portrait of Linnaeus, "Flora Dispensing her Favours on Earth", "Aesculapius, Flora, Ceres and Cupid .", and "Cupid Inspiring the Plants with Love", and 28 EXCEPTIONALLY FINE mezzotint and/or aquatint engraved plates printed in colors and/or colored by hand, comprising: "The Snowdrop" [Dunthorne state I]; "The Persian Cyclamen" [I]; "Hyacinths" [I]; "Roses" [I]; "A Group of Carnations" [II]; "A Group of Auriculas" [two only, I]; "A Group of Auriculas" [four, I]; "Tulips" [EARLY PROOF WITH NO CAPTION]; "The Queen"; "The Aloe" [I]; "The Nodding Renealmia" [I]; "The Night Blowing Cereus" [BI]; "The Oblique-Leaved Begonia" [I]; "Large Flowering Sensitive Plant" [I]; "The Blue Passion Flower" [I]; "The Winged Passion Flower" [I]; "The Quadrangular Passion Flower" [I]; "The White Lily" [I]; 'The Superb Lily" [B, II]; "The Dragon Arum" [I]; "The Maggot-Bearing Stapelia" [I]; "The Pitcher-Plant"; "The Pontic Rhododendron"; "The American Cowslip" [II]; "The Narrow Leaved Kalmia"; "The China Limodoron"; "The Indian Reed" [I]; "The Sacred Egyptian Bean"; and the "The Blue Egyptian Water Lily" (some minor marginal spotting). Contemporary half tan calf, marbled paper boards, gilt (rebacked to style). Provenance: With a near contemporary gift inscription to "Louisa Cath. B. Church presented to her by her affectionate father J.M.G. Church 21st March 1825. and from the above to Caroline Church June 15th 1872"; with the late 19th-century bookplate of Edmund Giles Loder, 2nd Bart., (1849-1920). FINE, EARLY IMPRESSIONS OF THORNTON'S CELEBRATED FLOWER PLATES FROM HIS "TEMPLE OF FLORA": 'THE MOST STRIKINGLY BEAUTIFUL SET OF FLOWER PLATES EVER TO BE PRINTED IN ENGLAND' (Alan Thomas, Great Books and Book Collectors, page 144). Including an exceptionally rare and early proof plate of "The Tulips", and two of the rarest plates: 'A Group of [Four] Auriculas' and 'Pitcher Plant'; the majority of the plates are in their earliest or only issue. Only one of the justly celebrated plates of flowers ("The Roses") was by Thornton, the others are after paintings by Abraham Pether, Philip Reinagle, Sydenham Edwards, Peter Henderson and others, although he selected the subjects of the plates, their symbolism and dramatic landscapes. A doctor by training, a substantial inheritance allowed Thornton to achieve his dream of "an immense work in many volumes which in scope, illustration, paper and typography would surpass anything in any other European country" (Grigson). However the enterprise brought about his financial ruin and in spite of several lotteries designed to raise funds Thornton was forced to return to medical practice in order to support himself. "At the heart of the 'New Illustration' was Thornton's scheme to produce a specifically British botanical publication of a magnificence to surpass all previous examples. Teams of master engravers and colourists, including Francesco Bartolozzi, Richard Earlom, and John Landseer, used the full range of modern printing techniques to produce coloured illustrations after paintings by such prominent artists as Sir William Beechey, James Opie, Henry Raeburn, John Russell, Abraham Pether, and his two favoured illustrators, Peter Henderson and Philip Reinagle. The illustrations were not restricted to the 'choicest flowers' in the world, but included portraits of eminent botanists-including the famous portrait of Linnaeus in Lapp (Sami) dress-elaborate allegories, such as 'Cupid Inspiring the Plants to Love', and a bust of Linnaeus being honoured by Aesculapius, Flora, Ceres, and Cupid. The text, which includes a translation of Linnaeus's 'Prize dissertation' on the sexuality of plants (1759), is similarly not bound to accounts and texts of scientific botany, but deals with a wide range of religious, political, spiri.
Edité par London: T. Bensley for the author, published by White, Cochrane and Co., E. Lloyd and W. Lindsell, [1804]-1812 [but plates watermarked 1822]., 1822
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
BROOKSHAW, George (1751-1823). Pomona Britannica; or, A Collection of the Most ESteemed Fruits at present cultivated in this Country; together with the Blossoms and Leaves of such as are necessary to distinguish the various sorts from each other. Selected principally from the Royal Gardens at Hampton Court, and the remainder from the most Celebrated Gardens round London. Accurately drawn and coloured from Nature, with full descriptions of their various qualities, seasons, &c. London: T. Bensley for the author, published by White, Cochrane and Co., E. Lloyd and W. Lindsell, [1804]-1812 [but plates watermarked 1822]. Broadsheets (22 2/8 x 18 inches). With the author's printed slip explaining the absence of three pineapple plates, 1 page of index (frontispiece, title-page and dedication leaf with old vertical crease). 90 magnificent aquatints with stipple engraving by Brookshaw, printed in colors and finished by hand. Contemporary brown morocco, elaborately paneled in gilt and blind (attractively rebacked to style). Provenance: with the engraved armorial bookplate of famous bibliophile and Philadelphian Moncure Biddle (1882-1956) on the front paste-down Plates watermarked H.S. & S. 1822, text watermarked J.Whatman 1811. Originally published in parts between 1804 and 1812 and dedicated to the Prince Regent. Many of the specimens were taken from the Royal Gardens at Hampton Court and Kensington Gardens, among other great British gardens, and include: 256 varieties of fruit are depicted in the 90 plates, the subjects include 7 plates of Cherries; 10 of Plums or Apricots; 15 of Peaches and Nectarines; 5 of Pineapples; 17 of Grapes; 9 of Melons, 11 of Pears and 7 of Apples. George Brookshaw's splendid "Pomona Brittanica" is a masterpiece among 19th-century British flower books. The publication of the "Pomona" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual "A New Treatise on Flower Painting", 1797. Characterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the "Pomona" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's "Temple of Flora," Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the "Pomona Britannica" was an enduring work created for the enjoyment and edification of "succeeding generations." Nissen 244; Pritzel 1182. Catalogued by Kate Hunter.
Date d'édition : 1847
Vendeur : Seth Kaller Inc., White Plains, NY, Etats-Unis
No binding. Etat : Fine. Autograph Manuscript Signed by Lincoln in text, constituting his official transcript of the "Subscription Book of the Capital Stock of the Alton and Sangamon Rail Road Company," incorporated February 27, 1847, transcribed in early 1851. Comprising a cover sheet titled in Lincoln's hand, the joint stock subscription statement and list of 91 shareholders with the number of shares subscribed, and leaf with Lincoln's legal docket: "Alton and Sangamon Railroad Company vs. James A. Barret. Copy of contents of subscription book." 8 pp., 6 5/8 x 8 1/4 x 1/4 in. A list of stockholders, entirely in Lincoln's hand, filed as evidence in his first significant railroad case. Lincoln's own appearance in the shareholder list represents only the second known instance of a stock purchase by the future president. The Illinois Supreme Court's ultimate ruling in favor of Lincoln and the railroad set an important legal precedent, upholding the binding nature of a stockholder's contractual and financial obligations. "The decision, subsequently cited in twenty-five other cases throughout the United States, helped establish the principle that corporation charters could be altered in the public interest, and it established Lincoln as one of the most prominent and successful Illinois practitioners of railroad law" (Donald, p.155). Historical BackgroundThe Alton and Sangamon Rail Road Company was chartered in 1847 to construct a line from Alton, via New Berlin, to Springfield. In 1850, however, the Illinois General Assembly approved a more direct route, bypassing the landholdings of some investors. Claiming breach of contract, James A. Barret refused to make further installment payments for his 30 shares of stock, as did several others who no longer stood to benefit from the new line. In 1851, Lincoln was hired to compel the defaulting shareholders to pay the balance of their promised investment.The tactical details are spelled out in a February 19, 1851 letter from Lincoln to William Martin, a commissioner for the sale of the company's stock. Four suits were to be brought against stockholders who had subscribed to the initial offering, but had then failed to make the additional installment payments. In preparation, Lincoln listed the essential documents he would need in order to win a judgment. "We must prove," he advised Martin, "that the defendant is a Stockholder," "that the calls have been made," and "that due notice of the calls has been given." To show that the defendants were in fact stockholders, Lincoln explained, he needed to produce "the subscription book with the defendant's name, and proof of the genuineness of the signature, together with any competent parole or evidence, that he made the advance payment" (Basler 2:99).Lincoln's meticulous transcript of the subscription book was a key piece of the evidence filed in Sangamon Circuit Court on February 22, 1851. The book includes Barret's name, and the subscription statement (transcribed by Lincoln on page two) is explicit about the shareholders' obligations.We the subscribers to the Capital Stock of the Alton and Sangamon Rail Road Company.do hereby agree.to pay the balance of the installments due on said stock by us subscribed, when the same may be called for by the board of Directors of said Company when duly organized in conformity with the Charter approved February 27th 1847."A. Lincoln," with six shares for $600, is prominent among the 91 subscriber names. (The only other known record of a Lincoln stock purchase dates from 1836, when he bought one share in the Beardstown and Sangamon Canal.)In June of 1847, as head of a committee to promote subscriptions for the projected railroad, Lincoln wrote an open letter to the "People of Sangamon County" appealing for their support. Railroad construction was booming, and Lincoln anticipated that a line between Springfield and Alton would prove a lucrative investment for himself and his state. "The whol. (See website for full description). Autograph Manuscript Signed.
Edité par London: Rickaby for Gardiner & Robinson; Sidney, 1802-1806., 1806
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
7 volumes in 4. Folio (18 2/8 x 11 2/8 inches). Text in English and French. 362 EXCEPTIONALLY FINE engraved plates with original hand-colour, including 37 PLATES IN COUNTERPROOF (some very occasional light spotting). FINE CONTEPORARY ENGLISH BINDING of green straight-grain morocco, elaborately decorated in gilt, including inner dentelles, with the gilt-stamped supra libros of John Proby on each front cover, all edges gilt. Provenance: with the supra libros of John Joshua Proby, first Earl of Carysfort (1751-1828) on each front cover; with the bookplate of John Taylor covered by the engraved armorial bookplate of E. Boehm on the front paste-down of each volume; Sir Abdy, his small library label on the front paste-down of volume one, his sale Paris, 11 June 1975, lot 107. AN EXCEPTIONALLY FINE, TALL AND ATTRACTIVE COPY, LIMITED TO 25 DELUXE COPIES, WITH MAGNIFICENTLY COLOURED PLATES, printed on paper watermarked "J. Ruse 1803" or "Ruse & Turners 1805". RARE. In his "Preface" to "Gleanings" Edwards writes: "Great parts of the prints in this present work were drawn and etched on the copper-plates immediately from the natural subjects which they represent; and many of the prints are coloured directly from nature, in their proper colours, by my own hand:; so that they may be deemed original drawings" (volume iv, page 9). In order to make these published images as close to the original watercolours as possible Robinson adopted the technique of counterproofing for 37 of the exquisite plates in this book: a method of "offset" printing whereby an image is printed from a freshly pulled print rather than from the copperplate. Counterproofs produce softer, lightly inked images with no platemarks, oriented in the same direction as Edwards'originals. John Joshua Proby, like his father before him, was a career politician. In 1789 he became joint guardian and keeper of the rolls in Ireland and was in Ireland when the rising broke out in 1798. He declared that the time was ripe for a union of Great Britain and Ireland, and on 21 April 1800 he described Pitt's measure as 'wise, politic, and advantageous to the two countries' (Cobbett, Parl. hist., 35.83). Carysfort wrote a pamphlet on parliamentary reform, published in 1783, and a collection of poems and dramatic works. He was 'esteemed a good and elegant scholar', but as a speaker 'his utterance is disagreeably slow, tedious and hesitating, perpetually interrupted by the interjections Ah! Ah!' (GEC, Peerage, 3.71). (G. F. R. Barker, rev. E. A. Smith for DNB). One of the most important of all eighteenth-century natural history works, "at its date of issue, the "Natural History" and "Gleanings" was one of the most important of all bird books, both as a fine bird book and as a work of ornithology. It is still high on each list" (Fine Bird Books). As a young man Edwards soon found himself in the company of the most influential natural historians, collectors and artists of the 18th-century. Among Edwards' first patrons was Sir Hans Sloane, he was taught to etch by the celebrated Mark Catesby (in 1754 he would publish the second edition of Catesby's "Natural History."), he worked with the Bartrams of Philadelphia and Linnaeus in Sweden. The first volume of "A Natural History of Uncommon Birds" was published to great acclaim in 1743, and gained him nomination for fellowship of the Royal Society although he withdrew his candidacy. Second and third volumes followed in 1747 and 1750 which won him the coveted Copley medal of the Royal Society. The last volume appeared in 1751 at which time he stated that age and infirmity precluded further work. However in 1758 he published the first volume of his "Gleanings of Natural History", the second in 1760, after which he sold his entire portfolio to the Marquess of Bute, ".resigned as bedell to the College of Physicians, and retired to a house in Plaistow. From there he still visited the college and the Royal Society and, stimulated by his drawings of South Ameri.
Edité par London: T. Bensley for the publisher, [1799]-1807., 1807
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
3 parts bound in two volumes, broadsheets (23 x 17 4/8 inches). Part I: engraved half-title "A British Trophy ."; engraved portrait of Thornton by F. Bartolozzi after Russell, and additional portraits of Millington, Grew, Ray, Vaillant, Bonnet, Hales, and Townsend; engraved plate "The Universal Power of Love"; engraved title-page "The Prize dissertation or the Sexes of Plates by Carolus von Linnaeus. 1759"; 3 engraved tables; and 22 fine engraved plates of flowers showing their separate components according to Linnaeus. Part II: mezzotint portrait of Linnaeus in Lapland dress by Dunkarton after Hoffman, engraved portrait of Linnaeus and further portraits of Pitton, Tournefort, de Jussieu, Larmarck, Rousseau, Hill, Bute, Martyn, Milne, Withering, Curtis, Smith, Lambert, Rutherford, Woodville, Shaw, and Erasmus Darwin; engraved half-title and title-page; 2 engraved tables; 66 engraved plates of flowers showing their separate components according to Linnaean classification. Part III: engraved title-page on 2 sheets; engraved table of contents; engraved dedication on 2 sheets; engraved part-title; 3 engraved plates: "Flora Dispensing her Favours on Earth" (aquatint and stipple engraved, hand-colored), and "Aesculapius, Flora, Ceres and Cupid ." and "Cupid Inspiring the Plants with Love" (color-printed stipple-engravings finished by hand); 28 mezzotint and/or aquatint engraved plates printed in colors and/or colored by hand, comprising: "The Snowdrop" [Dunthorne state I]; "The Persian Cyclamen" [III]; "Hyacinths" [II]; "Roses" [II]; "A Group of Carnations" [II]; "A Group of Auriculas" [two only, II]; "Tulips" [II]; "The Queen"; "The Aloe" [I]; "The Nodding Renealmia" [I]; "The Night Blowing Cereus" [Plate A, State II]; "The Oblique-Leaved Begonia" [III]; "Large Flowering Sensitive Plant" [III]; "The Blue Passion Flower" [III]; "The Winged Passion Flower" [III]; "The Quadrangular Passion Flower" [II]; "The White Lily" [III]; 'The Superb Lily' [B, III]; "The Dragon Arum" [IV]; "The Maggot-Bearing Stapelia" [II]; "American Bog Plants" [II]; "The Pontic Rhododendron"; "The American Cowslip" [I]; "The Narrow Leaved Kalmia"; "The China Limodoron"; "The Indian Reed" [II]; "The Sacred Egyptian Bean"; "The Blue Egyptian Water Lily" (endleaves and preliminaries creased, some marginal spotting). Contemporary maroon morocco gilt (hinges very weak). First edition. Only one of the justly celebrated plates of flowers ("The Roses") was by Thornton, the others are after paintings by Abraham Pether, Philip Reinagle, Sydenham Edwards, Peter Henderson and others, although he selected the subjects of the plates, their symbolism and dramatic landscapes. A doctor by training, a substantial inheritance allowed Thornton to achieve his dream of "an immense work in many volumes which in scope, illustration, paper and typography would surpass anything in any other European country" (Grigson). However the enterprise brought about his financial ruin and in spite of several lotteries designed to raise funds Thornton was forced to return to medical practice in order to support himself. "At the heart of the 'New Illustration' was Thornton's scheme to produce a specifically British botanical publication of a magnificence to surpass all previous examples. Teams of master engravers and colourists, including Francesco Bartolozzi, Richard Earlom, and John Landseer, used the full range of modern printing techniques to produce coloured illustrations after paintings by such prominent artists as Sir William Beechey, James Opie, Henry Raeburn, John Russell, Abraham Pether, and his two favoured illustrators, Peter Henderson and Philip Reinagle. The illustrations were not restricted to the 'choicest flowers' in the world, but included portraits of eminent botanists-including the famous portrait of Linnaeus in Lapp (Sami) dress-elaborate allegories, such as 'Cupid Inspiring the Plants to Love', and a bust of Linnaeus being honoured by Aesculapius, Flora, Ceres, and Cupid. The.
Edité par LondonF.G. Moon -49., 1846
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Livre Edition originale
FIRST EDITION, SUBSCRIBERS' ISSUE. 3 volumes, large folio (60 x 43 cm). Contemporary red half morocco for M. Ogle & Son of Glasgow, spines with 6 raised bands, each decorated with triple gilt fillets, compartments richly gilt and lettered direct, sides and corners trimmed with quadruple gilt fillets, Placard pattern marbled sides, pale primrose surface-paper endpapers, all edges gilt. 124 tinted lithographed plates, 3 vignette-titles and 121 plates, in the scarcest form, with original hand-colour, cut to the edge of the image and mounted on card in imitation of watercolours, as issued, mounted on guards throughout. Cntemporary presentation inscription to the title page "Alex Crum Ewing /From his affectionate uncle /James Crum /1859." (The Crum Ewings were a prominent Glasgow family of the day) Bindings professionally refurbished, plates and letterpress clean and bright. A most handsome copy. First edition, in the preferred deluxe format with exquisite hand-colouring, of "one of the most important and elaborate ventures of 19th-century publishing. the apotheosis of the tinted lithograph" (Abbey Travel). Roberts's work was published in three formats between 1842 and 1849, with the present deluxe coloured-and-mounted issue offered at triple the price of the simplest format. David Roberts, RA (1796-1864), enjoyed a wide popularity in his day for his European views, but it is on the outstanding success of this project that the modern appreciation of his work is based. In August 1838 he arrived in Alexandria to start a carefully planned enterprise. It is claimed that he was the first European to have unlimited access to the mosques in Cairo, under the proviso that he did not commit desecration by using brushes made from hog's bristle. Leaving Cairo, he sailed up the Nile to record the monuments represented in the Egypt & Nubia division of the work, travelling as far as Wadi Halfa and the Second Cataract. At the time of publication, it was these views that excited the most widespread enthusiasm. Before leaving for the Near East, Roberts had already discussed publication with the engravers Edward and William Finden, but on his return both Finden and the publisher John Murray, who was also approached, baulked at the risks involved in a publication of the size and grandeur envisaged. However, Francis Graham Moon - "a self-made man from a modest background" (ODNB) who had attracted the attention of the queen and ventured to represent himself as "Publisher in Ordinary to her Majesty" - accepted the challenge, and persuaded Louis Haghe to lithograph Roberts's drawings. Roberts acknowledged that Haghe's work was hardly less important than his own, complimenting his "masterly vigour and boldness". The burdensome demands of the task may have even prompted Haghe's early retirement as a lithographer. The Reverend George Croly (1780-1860), poet and well-known contributor to Blackwood's and The Literary Gazette, was engaged to edit the text from Roberts's journal. At an investment of a staggering 50,000, this was "undoubtedly the most costly and lavish, and potentially risky, publishing enterprise that Moon had ever undertaken". As a promotional tool, an exhibition of the original drawings was opened in London in 1840 and subsequently toured the country, creating a considerable stir and drawing praise from Ruskin who described them as "faithful and laborious beyond any outlines from nature I have ever seen." The exhibition catalogue also served as a prospectus for the projected work, and was apparently very successful in bringing forward subscribers, without whom any work of this size would have been doomed. Egypt & Nubia was subsequently published in a variety of smaller formats. In a dramatic gesture, the lithographic stones for the original large format work were broken at an auction of the remaining plates in December 1853 so that the originals could never be reproduced. Widely recognised as the ultimate expression of tinted lithography, an artistic and commercial triumph, Roberts's Egypt & Nubia was the result of a uniquely fortuitous collaboration between artist, publisher and engraver. This - a wonderful copy, in the preferred state, in a splendid contemporary binding - fully embodies the continuing impact of the project. Abbey Travel 272; Tooley 401-2; Blackmer 1432.
Edité par The Admiralty, [1880-1900]., London,, 1880
Vendeur : Daniel Crouch Rare Books Ltd, London, Royaume-Uni
Livre
Charting the course for Queen Victoria's Royal Yacht Glass fronted chart case (965 by 665 by 810mm, (1370mm when extended)), with drop leaf table extensions, consisting of eleven shelves, ten of which are lettered from top to bottom, 'Cape and Africa', 'N. American and West Indies', 'Australia', 'China', 'East Indies', 'Pacific', 'Channel and Western Station', 'Mediterranean', 'Channel, North Sea & Baltic', 'S.E. Coast of America'; the furniture housing 10 pilots, a meterological atlas of the Red Sea, and an atlas of global barometric pressure, each pilot with manuscript contents sheet, both atlases with printed title and preliminaries, the 12 works containing a total of 284 maps and charts (chart of the Sunda Strait lacking to China pilot, five charts loosely inserted in the Mediterranean pilot, one loosely inserted into the India pilot, loose chart of the coal and telegraph lines for 1899) all works bound in blue buckram covers, lettered in gilt to upper cover. A chart case from the Her Majesty's Yacht Victoria and Albert (II), containing 284 charts, covering the entire globe, and demonstrating The British Admiralty's mastery of the seas at the height of the British Empire. The chart case contains 10 pilots providing detailed charts for navigation from the British Isles to: Africa and the Cape of Good Hope; North America and the West Indies; Australia; China; The East Indies; The Pacific; The English Channel and Ireland; The Mediterranean; The English Channel, North Sea and Baltic; and The South East Coast of South America. Ranging from 30 charts contained in the China pilot to a mere 14 charts in the Africa pilot. All the pilots, although composite in nature follow a similar arrangement, each begin with a manuscript contents sheet written in a neat copperplate script, listing the titles of the charts together with the chart's Admiralty number. The majority of the pilots then commence with the same four charts: Chart No. 2060: The North Atlantic Ocean Eastern Part; No. 2059: The Atlantic Ocean; No. 2598: [Map of the World] Curves of Equal Magnetic Variation for the Year 1880; and No. 1598: The English Channel, 1882. The pilots show the great expansion of British Admiralty surveying throughout the nineteenth century: from acquiring manuscript surveys from returning merchant and naval vessels, supplemented with the acquisition of privately produced charts by the likes of Sayer, Heather and Norie, to having a fleet of 12 ships carrying out surveying work across the whole world. One of the earliest areas to be systematically surveyed by the Admiralty was the west and east coasts of Africa, including the southern coast of Saudi Arabia. Britain at the beginning of the nineteenth century was beginning to look for an expansion of her trade along the east coast of Africa; in 1821 preparations were made at the Admiralty for an expedition to survey the African coast. The work was entrusted to Captain William Fitzwilliam Owen (1774-1857), and between 1822 and 1826, Owen surveyed much of the west, and east coasts of Africa, the south coast of Arabia, and the River Gambia. Owen's work was not without incident, whilst in Muscat, he invited the Sultan on board the ships, but was therefore forced to temporarily tow away the huge number of pigs on board to avoid offending the Muslim Sultan; it is reported that the whole cove echoed with their squeals. These incidences aside, it was these surveys together with his work in the India Ocean (represented in the pilots here by: Nos. 598; 721; 594; and 595) that earnt him the respect of the Admiralty, who presented him with a silver punch-bowl in the form of a globe of the earth surmounted by Neptune and supported by figures representing the four continents. Other charts of note relating to Africa contained in these pilots include : No. 1771: Captain Edmund Palmer's chart of St Helena the most accurate survey of the island carried out in the nineteenth century; and No. 1691: Lieutenant Bedford's survey of the Ascension Islands, 1838. In Asia British influence had, with the conquering of India, dramatically increased by the beginning of the nineteenth century. This coupled with her acquiring footholds in Southeast Asia, such as Singapore and Hong Kong, led the Admiralty to send several voyages to the Far East, the most important of which was Captain Richard Collinson's (1811-1883) surveying work. Collinson, in command of HMS Plover spent the years 1842 to 1846 charting the Chinese coast, the first systematic charting of the waters, producing charts on which all successors were based (Nos. 2660a, 2660b, 2661a, and 2661b). Chart No. 1480, 'Yang-Tse-Kiang from the Sea to Nanking', his important survey of the Yangtse River from Shanghai to Nanjing, still bears his name. In 1836, Collinson had been a lieutenant on HMS Sulphur, a surveying vessel in the Pacific, under the command of Captains Beechey and Belcher. On her return voyage via China, in 1841, the vessel became involved in the First Opium War, and specifically in the capture of Wangtong on the Pearl River delta. Whilst in the area Captain Belcher surveyed Hong Kong, the first scientific survey of the island (No. 1466). Belcher would return to the Far East in 1843-46 in command of HMS Samarang in order to survey the South China Seas, and like Collinson providing a template on which all subsequent surveys were based. The work also includes Captain J.W. Reed's important survey of the Singapore Straits carried out on HMS Rifleman, between 1865 and 1869 (No. 2403). Reed would also resurvey the waters between Singapore and Hong Kong. Britain's dominance of the Indian subcontinent, would draw her into what became known as the 'Great Game': Britain and Russia's struggle for de facto control of Central Asia. To this end the British fought several proxy wars, one such was the First Anglo-Persian War (1856-57). Commander Charles Constable, son of the painter John Constable, was attached to the Persian Expeditionary For.
Date d'édition : 1849
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Hardcover. Etat : Fine. This six volume set of 418 remarkable hand-colored lithographs is from the esteemed John Gouldâ s "Monograph of the Trochilidae, or Family of Hummingbirds". The work was printed in London by Taylor & Francis published for the author in London between 1849 and 1887. The work is bound in contemporary full green morocco, lavisly gilt. It contains the list of subscribers and contents to each volume. --- â The "Trochilidae" of Gould is his masterpiece, and must ever remain a feast of beauty and a source of wonder.â (Fine Bird Books) "Family of Hummingbirds" undoubtedly featured some of Gouldâ s most desired plates. Of particular note was the use of gold and silver leaf to create the appearance of the natural iridescence of the hummingbirdâ s feathers. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. --- "There is no one appreciative of the beauties of nature who will not recall. with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye. The beautiful nests of humming-birds. will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs" (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north. --- The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors. --- John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gouldâ s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today. --- The work is in very good to excellent condition overall. There may be a few minor imperfections or faint marks to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 21 13/16" by 15 1/6".
Edité par London: T. Bensley for the publisher, [1799]-1807., 1807
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
3 parts in 2 volumes. Broadsheets (24 x 19 inches). Volume one with 127 fine uncoloured engraved plates, copperplate, portraits and diagrams, including Linnaeus in his Lapland dress (some occasionally heavy spotting); volume II, "The Temple of Flora", with 6 engraved title-pages or dedications, an engraved portrait of the Queen, engraved contents leaf, and 31 FINE coloured plates, comprising 3 allegorical hand-coloured aquatint plates ("Aesculapius, Flora, Ceres and Cupid honouring the Bust of Linnaeus", "Cupid Inspiring Plants with Love", "Flora dispensing Her Favours on the Earth"), and 28 fine mezzotint and/or aquatint engraved plates printed in colors and/or colored by hand, comprising: "The Snowdrop" [Dunthorne state III]; "The Persian Cyclamen" [III]; "Hyacinths" [II]; "Roses" [II]; "A Group of Carnations" [III]; "A Group of Auriculas" [two only, II]; "Tulips" [II]; "The Queen Flower"; "The Aloe" [II]; "The Nodding Renealmia" [II]; "The Night Blowing Cereus" [AII]; "The Oblique-Leaved Begonia" [III]; "Large Flowering Sensitive Plant" [II]; "The Blue Passion Flower" [III]; "The Winged Passion Flower" [I]; "The Quadrangular Passion Flower" [II]; "The White Lily" [I]; 'The Superb Lily" [B, III]; "The Dragon Arum" [III]; "The Maggot-Bearing Stapelia" [II]; "American Bog Plants" [II]; "The Pontic Rhododendron"; "The American Cowslip" [II]; "The Narrow Leaved Kalmia"; "The China Limodoron"; "The Indian Reed" [II]; "The Sacred Egyptian Bean"; and the "The Blue Egyptian Water Lily". Contemporary half black morocco, marbled paper boards (spine repaired, worn). THE GREATEST ENGLISH BOTANICAL BOOK Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and "The Temple of Flora" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment. The production of the plates for "The Temple of Flora" involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom. In spite of using a host of artists and engravers, Thornton managed to "maintain a remarkable homogeneity of style throughout" (An Oak Spring Flora), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: "more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure ? His fortune was engulfed and his family reduced to penury. It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing. but he p.
Edité par Chapman and Hall, 1841
Vendeur : Gerard A.J. Stodolski, Inc. Autographs, Bedford, NH, Etats-Unis
Livre Edition originale
Hardcover. Etat : Fine. 1st Edition. DICKENS, CHARLES. (1812-1870). English novelist of the Victorian era; his numerous beloved works include: A Christmas Carol , A Tale of Two Cities Barnaby Rudge , Bleak House , David Copperfield , Dombey and Son , Great Expectations , Martin Chuzzlewit , Nicholas Nickleby , Oliver Twist , The Old Curiosity Shop , and The Pickwick Papers . His book: THE OLD CURIOSITY SHOP. London: [Bradbury and Evans for] Chapman and Hall, 1841. Quired in 6s (251 x 167 mm). Dedication leaf to Samuel Rogers (not called for by Smith, but that in vol.1 of Master Humphrey's Clock from which this is separately issued). Illustrations in text by George Cattermole and Hablot K. Browne ["Phiz"]. Gilt-ruled on covers, gilt-decorated on spine, deep green/black and red morocco lettering pieces, all edges gilt, ink stamp of Chapman and Hall on front free endpaper and of the binder Hayday on rear free endpaper. Housed in a vintage custom full leather embossed slip case, of excellent quality. BOLDLY INSCRIBED TO: WALTER SAVAGE LANDOR FROM HIS HEARTY FRIEND, CHARLES DICKENS , ON THE TITLE PAGE. THIS PRESENTATION IS ONE OF EXTRAORDINARY ASSOCIATIONS, one made even more so when one considers Landor (1775 - 1864) was 37 years Dickens senior, and then further inscribed by Landor to his son, opposite the title page, Arnold Savage Landor / from Babbo [a family nickname]. Landor was an immediate admirer of Dickens works. In April 1839, before Dickens was introduced to Landor by John Forster, [both Landor s and Dickens biographer, literary advisor and inner circle friend], Landor wrote to Forster, Tell Dickens he has drawn from me more tears and more smiles than are remaining to me for all the rest of the world, real or ideal. Dickens and Landor first met in January 1840, through Forster, at Lady Blessington s literary salon. On February 10, 1840, Landor wrote to his friend G.P.R. James: In town I made a new acquaintance -- is a really popular, and what is much better, truly extraordinary man the author of Nicholas Nickleby. He comes on Saturday to spend a few days with me at Bath, and on Monday I have invited my elite of beauty (the Paynters) to meet him How I wish you could too! Dickens is really a good as well as a delightful man. It is rarely that two such persons meet, as you and he nor in any other society could I easily be the least of three. In 1869, a year before his death, Dickens wrote to Forster: Landor s ghost goes along the silent streets before me. Forster wrote it was the first meeting in Bath on February 7, 1840, that there came into the novelist s mind the first stirrings of imagination that eventually took form as Little Nell who became to Landor as one who had really lived and died. Dickens on May 9, 1869, in a letter to Forster, confirmed what Landor had often previously told friends that it was at Landor s lodgings in Bath that Dickens first thought of Nell. Landor later declared that he had never in his life regretted anything so much as having failed to buy the house and burn it to the ground, so that no meaner association should ever desecrate the birthplace of Nell. It was during this first trip that Rose Paynter, Landor s elite of beauty and best friend in Bath, introduced Dickens to the original of Quilp in The Old Curiosity Shop , a frightful little dwarf named Prior, who let donkeys on hire and used a heavy stick impartially on his wife and donkeys. On September 13, 1840, in a letter to John Forster, Dickens determined he wanted to separate and publish The Old Curiosity Shop from Master Humphrey s Clock, although it wasn t until April 20, 1841, in a letter to his dear friend Miss Angela Burdett Coutts [Coutts Bank family] that he had given his binder instructions to put The Old Curiosity Shop in one Volume. Since The Old Curiosity Shop (40 weekly numbers published from April 25, 1840 to February 6, 1841) was a part of Master Humphrey s Clock, Dickens had to add sections to make it a viable separate novel. On February 11, 1841, Dickens asked Landor to be his newly born fourth child s godfather, which incredibly excited and honored Landor. The Christening took place on December 4, 1841, eleven days before the first separate publication of The Old Curiosity Shop . Landor s life is a story in its own right. It is an amazing catalogue of incidents and misfortunes, many of them self-inflicted, but some of no fault of his own. His headstrong nature and hot-headed temperament, combined with a complete contempt for authority, landed him in a great deal of trouble over the years. Landor s writing often landed him on the wrong side of the laws of libel. Many times his friends, including Dickens and Forster, had to come to his aid in smoothing the ruffled feathers of his opponents or in encouraging him to moderate his behavior. His friends were equally active in the desperate attempt to get his work published, where he offended or felt cheated by a succession of publishers who found his work either unsellable or unpublishable. He was repeatedly involved in legal disputes with his neighbors and Dickens characterization of him as Lawrence Boythorn in Bleak House (1852-3) revolves around such a dispute over a gate between Boythorn and Sir Leicester Dedlock. His stormy marriage with his long-suffering wife resulted in a long separation (she and his family lived in Florence) and when she finally decided to take him back, he tried to escape several times, only to be brought or coaxed back. Yet, Landor was described as the kindest and gentlest of men. He collected a coterie of friends who went to great lengths to help him as his loyalty and liberality of heart were as inexhaustible as his bounty and beneficence of hand. Modern day biographers of Dickens concluded that Landor s aggressive talk was a cover for an extremely sensitive, sentimental and generous character, who was exceptionally loyal to his friends. Simply superb and with associations of the highest order!.
Edité par Hilliard, Gray, Little and Wilkins, 1829
Vendeur : Anniroc Rare Books, Pasadena, CA, Etats-Unis
Livre Signé
Hardcover. Etat : Very Good. 2nd Edition. A signed book from Thoreau's library***Second edition. Remboitage in contemporary leather binding of the same book. Concord Library stamp to title page, fore-edge a bit chipped. Pages quite clean, Very Good. HDT s ownership signature and annotations in bold ink.*** The signature is an early one, sometime around 22 years of age. Thoreau had studied Greek and the Classics at Harvard, graduating in 1837 and began translating Aeschylus in his journal circa 1839 - his translation of Prometheus Bound would appear in the third installment of The Dial in 1843. This is a young Thoreau still developing as a person and an intellectual. He obviously used this book heavily, as it contains lengthy annotations on 16 pages - his additions of Greek words with definitions.*** This book was gifted in 1874 by his devoted sister, Sophia, to the Concord Library and later de-accessioned by the library in 1906 and purchased by the celebrated collector, Stephen H. Wakeman. It doesn't need any trinkets of imaginative dressing from me, but to go full bore, it's more than conceivable that he brought this to Walden Pond along with other pieces from his library. Wakeman was amongst the greatest collectors of all time in a golden era of collectors who continuously one-upped each other by gobbling up the choicest pieces. He was the OG Thoreau collector, amassing the largest, most comprehensive assortment of HDT items - even furniture made and used by Thoreau.*** It s now over 200 years since the icon's birth, and his place in the literary firmament is fully established. What is pertinent to convey is that pieces like this will continue to be more impossible to procure the longer time expands the void between us and him. You can often pick up nice copies of HDT's books, even fragments of his manuscript leaves though they often lack significance. This piece does have lofty significance(a book heavily used by an American legend to shape his mind) and now is your shooting star-esque window of time to own a museum piece.***Please email us for better pricing. Inscribed by Author(s).
Edité par Hilliard, Gray, Little and Wilkins, 1829
Vendeur : Anniroc Rare Books, Pasadena, CA, Etats-Unis
Livre Signé
Hardcover. Etat : Very Good. 2nd Edition. A signed book from Thoreau's library***Second edition. Remboitage in contemporary leather binding of the same book. Concord Library stamp to title page, fore-edge a bit chipped. Pages quite clean, Very Good. HDT s ownership signature and annotations in bold ink.*** The signature is an early one, sometime around 22 years of age. Thoreau had studied Greek and the Classics at Harvard, graduating in 1837 and began translating Aeschylus in his journal circa 1839 - his translation of Prometheus Bound would appear in the third installment of The Dial in 1843. This is a young Thoreau still developing as a person and an intellectual. He obviously used this book heavily, as it contains lengthy annotations on 16 pages - his additions of Greek words with definitions.*** This book was gifted in 1874 by his devoted sister, Sophia, to the Concord Library and later de-accessioned by the library in 1906 and purchased by the celebrated collector, Stephen H. Wakeman. It doesn't need any trinkets of imaginative dressing from me, but to go full bore, it's more than conceivable that he brought this to Walden Pond along with other pieces from his library. Wakeman was amongst the greatest collectors of all time in a golden era of collectors who continuously one-upped each other by gobbling up the choicest pieces. He was the OG Thoreau collector, amassing the largest, most comprehensive assortment of HDT items - even furniture made and used by Thoreau.*** It s now over 200 years since the icon's birth, and his place in the literary firmament is fully established. What is pertinent to convey is that pieces like this will continue to be more impossible to procure the longer time expands the void between us and him. You can often pick up nice copies of HDT's books, even fragments of his manuscript leaves though they often lack significance. This piece does have lofty significance(a book heavily used by an American legend to shape his mind) and now is your shooting star-esque window of time to own a museum piece.***Please email us for better pricing. Inscribed by Author(s).
Edité par Paris: C.L.F. Panckoucke, 1827- [1833]., 1833
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
Large 4to., (12 4/8 x 9 2/8 inches). Letterpress title-page, 2-page "advertisement", "Table Alphabétique et Explicative des plantes figurées dans cet ouvrage (9 leaves, paginated [1]-17, verso of 9th leaf blank), final blank leaf. 144 fine stipple-engraved plates BEFORE NUMBERS, printed in colors and finished by hand, by Langlois, Bessin, Chapuy, and Victor, after Redouté (some occasional light browning, one or two insignificant spots). Contemporary French half maroon morocco gilt, marbled boards (extremities a bit scuffed and bumped). First edition, preferred issue with the plates before numbers, originally published in parts between May 1827 and June 1833. Also published in a very limited large paper edition, Hunt reports five copies only, but there were probably more. Unlike later editions this first edition has no sectional titles, and in this copy the plates are bound according to Guillemin's strict "Table Alphabetique". The "Choix", for this Redoute's last great and extremely popular work, is personal: "Éclairé par l'expérience, encouragé par les souffrages les plus flatteurs des naturalistes et des peintres de mon pays et des contrées les plus éloignées; c'est en me livrant aux travaux botaniques les plus étendus, c'est en étudiant sans cesse la nature dans la constance et dans la variété des formes et de ses couleurs, que je crois être parvenu à réussir sous le triple rapport d'exactitude, de la composition et du coloris, dont la réunion peut seule porter à perfection l'iconogrpahie végétale" - "Enlightened by experience and encouraged by the extremely flattering pleas of naturalists and painters from my own country as well as from most distant realms; it is by devoting myself to extensive botanical study, by examining nature unremittingly, observing both its constancy and variety of shapes and colours, that I believe finally to have succeeded, by the triple means of exactitude, composition and colouring, the union of which only, may bring to perfection the iconography of plants" (Redouté, "Preface"). Pierre-Joseph Redoute (1759-1840), often called "the Raphael of flowers," was born in the Belgian Ardennes - the son, grandson, great-grandson and brother of artists. From the beginning, Redoute's talents were recognized by distinguished men and women who took pleasure in forwarding his career. For the study of botany, his teacher was Heritier de Brutelle, one of the outstanding naturalists of his day. Gerard van Spaendonck, Flower Painter to the King, taught Redoute the technique of painting in watercolor on vellum. But by the master's own account, the pupil's work was finer. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of engraving a copper plate with a dense grid of dots which can be modulated to convey delicate gradations of color. Because the ink lies on the paper in miniscule dots, it does not obscure the "light" of the white paper beneath the color. After this complicated printing process was complete, the prints were then finished by hand in watercolor, so as to conform to the models Redoute provided. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. The "Choix des Plus Belles Fleurs" is one of Redoute's last works. The "choice" is personal, the favorite flowers and fruits of a master who had devoted a lifetime to the arc of botanical illustration. There are the spectacular blooms of formal gardening, but also many more modest blooms of wayside flowers. Although small in size, these prints have the peculiar virtue of concentration, by which we can savor the essence of each beautiful flower. Dunthorne 235; "Great Flower Books" p.129; cf. Hunt "Redout.
Date d'édition : 1869
Vendeur : Bauman Rare Books, Philadelphia, PA, Etats-Unis
Edition originale Signé
"DARWIN, Charles. Autograph letter signed. WITH: On the Origin of Species by Means of Natural Selection, or The Preservation of Favored Races in the Struggle for Life. Kent, United Kingdom, November 24, [1869] and New York: D. Appleton, 1870. Single sheet of unlined paper, measuring 5 by 8 inches folded; pp. 4. Housed in a custom cloth portfolio. WITH: Octavo, original purple cloth. Housed together in a custom clamshell box. $125,000.Very rare and desirable signed autograph letter from Charles Darwin to American publisher D. Appleton's London agent, Charles Layton, agreeing to a second American edition of the Origin of Species, with a slightly raised price, but requiring that Appleton also commit to an American edition of The Descent of Man. Accompanied by the second American edition of Origin of Species in original cloth.The letter, written entirely in Darwin's hand and dated "Nov. 24th. Beckenham [Kent]," reads in full: "Dear Sir, I am much obliged by your note. You say that Messrs. Appleton 'would also like to have a set of stereotyped plates of new edit of Origin of Species on same terms.' I am not sure that I understand this, for I have not permitted the Origin to be stereotyped in England. If it means that Messrs. Appleton will print a new edition in Stereotype Plates (or in common type which would be much preferable) I gladly agree to his terms for this edition & for my next book. I have long earnestly wished for a new edition of the Origin in the United States, as it is 92 pages longer than the 2nd edition, besides endless small though important corrections. I feel sure that the continued large sale of this book in England Germany & France has depended on my keeping up each edition to the existing standard of science. I hope I am right in supposing that Messrs. Appleton are willing to print in some form a new edition; for though unwilling to act in a disobliging manner toward them I had resolved soon to write to Professor Asa Gray to ask him to find some publisher who would print the new edition of the Origin, on condition of my supplying him with the sheets of my new book as they printed & which book will probably have a large sale. Will you be so kind as to let me hear soon how the case stands; & I should like in case the answer is favourable to send in M.S. half a dozen small corrections for the Origin. I must inform you that although Mr Murray has inserted a notice of my new book, I do not suppose it will be printed for nearly a year, although a considerable portion is ready for the press. Dear Sir, yours faithfully, Ch. Darwin. You will understand that I cannot agree with Mr Appleton about my new book, unless he is willing to print a new edit of Origin. The price of the latter might fairly be raised a little; as Mr Murray has by 1s. & it shd be advertised as largely added to & corrected."According to the Darwin Correspondent Project at Cambridge, the recipient of this letter was Charles Layton, the American publisher D. Appleton's London agent. This letter refers to details regarding the publication of a new American edition of the Origin of Species. Darwin begins by clarifying that fact, as the proposal was for a stereotyped American edition as Darwin had been resistant to stereotyping his work in England. Darwin may have seen the first U.S. edition, published in 1860 from stereotypes of the British second edition, and was aware of the decline in quality compared to conventional typesetting. In England, Darwin still wanted the best printing possible, while the overseas printing was of slightly less concern. In letter dated April 1869, Darwin had, in fact, approached Orange, Judd, & Co., who published the American version of Variation, about publishing a new American edition of the Origin. Here, however, Darwin only mentions potential correspondence with Asa Gray, a Harvard botanist with whom Darwin exchanged hundreds of letters. Darwin's fame in America largely rested on Gray's positive review of Origin in The Atlantic and his subsequent pro-evolution debates with zoologist Louis Agassiz, which Gray won handily. Darwin's decision to mention Gray here was likely meant to emphasize Darwin's influence in the American scientific community and to underline the scientific prominence of Darwin's American supporters. This letter indicates Darwin's willingness to go along with Appleton publication proposal despite that inquiry, for both this work and for his upcoming book, The Descent of Man. The Murray notice that Darwin refers to was an advance advertisement for Descent published in October of 1869. Descent, delayed as Darwin indicates, was not actually published until early in 1871. Appleton managed to publish the second U.S. edition, based on a corrected and expanded version of the fifth English edition, by 1870, before their publication of Descent in 1871. Darwin kept a proprietorial hand on all of his work: other editions were also receiving tweaks at the same time he was considering the Appleton proposal. For instance, Darwin mentions sending several corrections to the fifth English edition of Origin to improve its upcoming publication in French and German.This letter is accompanied by the second American edition of On the Origin of Species, the subject of the letter. "This, the most important single work in science, brought man to his true place in nature" (Heralds of Science 199). Darwin "was intent upon carrying Lyell's demonstration of the uniformity of natural causes over into the organic world In accomplishing this Darwin not only drew an entirely new picture of the workings of organic nature; he revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been taken" (PMM 344). Excerpts of this letter were published in Darwin's Correspondence, Volume 17. The book is labeled "Fifth Edition, With. Signed.
Edité par Paris Imprimerie de Dondey-Dupré, 1825
Vendeur : Shapero Rare Books, London, Royaume-Uni
Livre Edition originale
First edition, folio (59.2 x 43.8 cm), engraved title page, dedication, 52 pp., 12 engraved vignettes in text, 40 fine hand-coloured lithographs by Lemercier after Dupré, all plates titled and numbered, and blind-stamped with the artist's monogram encircled; complete with the Turkish Firman, text leaves a bit spotted, small marginal repair to lower blank margin plate 1, last plate a little toned with small marginal repairs to verso, all tissue guards taped to verso of preceding plate, contemporary Greek red half morocco gilt by Lardi of Athens with his ticket, neatly rebacked, corners renewed, covers a little spotted. First edition of the finest colour plate book ever produced on Greece and Turkey. Born in Versailles in 1789, little is known about Dupré's family or childhood. However, he had a powerful patron in Count Clément de Ris, thanks to whom he was able to study at the school of the renowned painter Jacques-Louis David, an apprenticeship that had a decisive impact on his personality as well as his art. In 1811, Cardinal Joseph Fesch, Bishop of Lyon, connoisseur and statesman, sent Dupré to Kassel, where he was named court painter to the king of Westphalia, Jérôme Bonaparte, who also facilitated Dupré's journey to Rome to study, in 1813. In Italy, Dupré travelled, studied and drew antiquities, in particular vases, while developing his skills in landscape and portrait painting. He became acquainted with artists such as the sculptor David d'Angers, the painter J.A.D. Ingres, the composer J. Rossini and the architect C.R. Cockerell. He met three British art lovers, Hyett, Hay and Vivian, who suggested that he accompany them on their journey to Greece, in February 1819. This journey, which lasted until April 1820, completely met Dupré's expectations. He saw the ideal world of ancient Greece reveal itself before his eyes, the scope of his subjects became broader and his art was animated by a fresh élan. The party of four travelled to Corfu, Epirus, Thessaly, Central Greece, Attica, and the Saronic islands. Dupré himself continued on to Constantinople and Bucharest, invited by Michael Soutsos (1784-1864), great dragoman of the Sublime Porte and prince of Moldavia. Polite, sociable, energetic, forthright, courageous and honest, with a love of freedom and homeland, Dupré was well-liked by the Greeks. In 1825, after his return home, he published his travel album with forty lithographs in colour, made by the best lithographers in France, and from 1827 he exhibited his Greek-themed paintings in the yearly Paris Salon. 'Man, nature, religious sentiment, the reminiscence of antiquity and the charm of the East are Dupré's favourite subjects. However, the journey to Greece was a landmark in the evolution of his thematic repertoire. Although nature has the power to give new wings to memory and imagination, Dupré gave priority to portraits and costumes. He depicts human types with precision, devoid of passion, exempt of exoticism, he makes an appraisal of countenance, posture and dress, while each detail refers the viewer to the whole and vice versa. In all of Dupré's works there is a clarity of subject, while the ethos of the representation is enhanced in a balanced composition. His fluid, flexible lines achieve a harmonious union of drawing and colour. He succeeds in highlighting the cultural differences between East and West' (Ioli Vingopoulou, Aikaterini Laskaridis Foundation). Atabey 381; Blackmer 517; Colas 916; Koç II, 243; Lipperheide 1434.
Edité par London, Moon, 1842 - 1849., 1842
Vendeur : Matthaeus Truppe Antiquariat, Graz, Autriche
Livre Edition originale
6 Bde. 3 Bll., 30 S., 21 Bll.; 23 Bll.; 2 S., 18 Bll.; 2 Bll., 8 S., 21 Bll.; 22 Bll.; 24 Bll. mit 120 Textabb. 3 Frontisp., 6 Titel, 1 Porträt, 118 Tafeln (alles in getönter bzw. farbig getönter Lithographie von Louis Hague), 2 Kupferkarten. Erste Ausgabe dieses epochalen Tafelwerks über den Nahen Osten mit allen 248 Ansichten des Heiligen Landes (in getönten Lithos) und Ägyptens (in farbig getönten Lithos). - Blackmer 1432. Lipperheide 1590 und 1591. Röhricht 1983. Abbey, Travel, 385 und 272. - "David Roberts was the first professional artist to visit the Near East without a patron or a connection to a military expedition or missionary group. He sailed to Alexandria in 1838 and for eleven months traveled up the Nile River, across deserts and mountains, through Egypt and the Holy Land, to arrive in Jerusalem on Easter 1839. He continued north to Lebanon and departed from Beirut in May. Roberts recorded his impressions of landscapes, temples, ruins, and people in three sketchbooks and more than 272 watercolors. These sketches and paintings provided the basis for the 247 lithographs published with text between 1842 and 1849 as the three-volume "Holy Land." The images were produced by Louis Haghe, the best and most prolific lithographer of the time. Originally from Tournai, Belgium, Haghe moved to England before 1825 and established himself as specialist of the hand-tinted lithograph. His sensitive handling of the lithographer`s tools imparts a range of tonality and color as well as a sense of the delicacy and spontaneous quality of Roberts`s original images. Roberts`s plates are among the most popular images of famous sites in the Near East. As John Ruskin wrote they make "true portraiture of scenes of historical and religious interest. They are faithful and laborious beyond any outlines from nature I have ever seen." (ww.metmuseum.org). - "In point of bulk and ambition Roberts`s Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph. There is pleasure to be had from many of the individual plates, where Haghe`s skilful and delicate lithography, and his faithful interpretation of Roberts`s draughtsmanship and dramatic sense, combine in what are undoubtedly remarkable examples of tinted lithographic work. Particularly in the Egypt and Nubia section, one feels that the colossal subjects and broad vistas were ideally suited to Roberts`s talent, trained as he was in theatrical scene-painting during his early days in Carlisle, Glasgow, Edinburgh, and London.Roberts was fully appreciative of Haghe`s work, writing that: `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple, and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone`" (Abbey 341). - Das Werk erschien in insgesamt 3 Varianten: Die kolorierte Subskribtions-Ausgabe (mit den 2 Bll. "Subskribenten-Verzeichnis"), eine Ausgabe mit farbigen getönten Lithographien und eine Ausgabe mit getönten Lithographien. Vorliegend ist eine Mischausgabe, die Ägypten Bände enthalten die farbig getönten Lithos, die Bände des heiligen Landes mit den getönten Lithos. - Titel mit hs. Namen. Teils etw. wasserrandig. Durchgehend fleckig, vereinzelt im weißen Rand stark fleckig. *** *** Copyright: Matthaeus TRUPPE Buchhandlung & Antiquariat - Stubenberggasse 7 - A-8010 Graz - ++43 (0)316 - 829552 *** *** Sprache: Deutsch Gewicht in Gramm: 0 Gr.-Fol. OHLdr. (restauriert, fleckig, Rücken mit ergänzten Fehlstellen).
Edité par London, F. G. Moon, 1842-1849., 1849
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Large folio (610 x 460 mm). 6 vols. With altogether 6 lithographed titles with pictorial vignettes and 241 tinted lithographed plates, all drawn on stone by Louis Haghe after David Roberts, lithographed portrait of the artist, and 2 engraved maps. Contemporary green half morocco gilt, upper covers with green morocco lettering pieces. A beautiful set comprising both of Roberts' monumental works on the Middle East in their tinted issues. "One of the most important and elaborate ventures of nineteenth-century publishing and [.] the apotheosis of the tinted lithograph" (Abbey, p. 341), these works were issued in 41 parts over the course of seven years, finely lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms: "Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone". - In 1838 the topographical artist and stage painter David Roberts (1796-1864) made plans for a journey to the Near East, inspired by his passion for artistic adventure. He departed in August 1839 for Alexandria and spent the remainder of the year in Cairo and visiting the major tombs and sites of Egypt. The following February he journeyed to the Holy Land, making stops in Suez, Mount Sinai and Petra. He spent time in Gaza before entering Jerusalem and concluded his tour by spending several months visiting the biblical sites of the Holy Land. Roberts returned to England at the end of 1839 and submitted his drawings to F. G. Moon in 1840. Moon arranged to bring out a volume of Scripture history, paying Roberts 3,000 pounds for the copyright of the sketches and for overseeing Haghe's efforts. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. - Some spotting and foxing; binding rubbed. - Armorial bookplate of the clergyman, naturalist and collector William Henry Hawker (1828-74), the first vicar of Steep, Hampshire. - Ibrahim-Hilmy II, 176. Abbey Travel II, 272 & 385. Tooley 402. Lipperheide Ma 27. Tobler 229. Röhricht 1984. Blackmer 1432. Gay 25. Cf. Hiler 753. The Heritage Library, Islamic Treasures, s. v. "Art" (illustration).
Edité par F. P. Allen, Plattsburgh, NY, 1833
Vendeur : SOPHIA RARE BOOKS, Koebenhavn V, Danemark
Membre d'association : ILAB
Edition originale
First edition. DIBNER 130 "THE FIRST GREAT AMERICAN CONTRIBUTION TO PHYSIOLOGY" "THE MOST IMPORTANT PRESENTATION COPY EXTANT". First edition, inscribed by Beaumont to James W. Kingsbury, of "the most important study of digestion before Pavlov" (Garrison-Morton), this is "the first great American contribution to physiology" and "the most important presentation copy extant" (). Sir William Osler called Beaumont (1785-1853) "the pioneer physiologist of the United States, and the first to make a contribution of enduring value. His work remains a model of patient, persevering research." "While stationed at Fort Mackinac, near Michilimackinac, on Mackinac Island, Michigan, close to the Canadian border - then and now an extremely remote location - Beaumont had been presented with a unique opportunity in the person of one of his patients, the young French Canadian soldier Alexis St. Martin (1797?-1880), who was left with a permanent gastric fistula after suffering a gunshot wound to the stomach. Beaumont's experiments and observations, conducted between 1825 and 1831, conclusively established the chemical nature of digestion, the presence and role of hydrochloric acid in the stomach, the temperature of the stomach during digestion, the movement of the stomach walls and the relative digestibility of certain foods - all of which revolutionized current theories of the physiology of digestion" (ibid.). Beaumont wrote of St. Martin, "When he lies on the opposite side, I can look directly into the cavity of the stomach, and almost see the process of digestion." Beaumont's scientific advisors urged him to haveExperiments and Observations on the Gastric Juiceissued by established medical publishers such as Lippincott in Philadelphia, but he decided to self-publish his book. He had it typeset at the press of the town newspaper in Plattsburgh, New York, where he practised medicine, probably because he thought the work could be done more quickly and cheaply there. According to a letter of 4 December 1833 from Beaumont to Surgeon-General Joseph Lovell, the dedicatee, the first edition consisted of 1000 copies, although Beaumont's nephew later claimed that 3000 copies had been printed. Most of the first edition had the Plattsburgh imprint, but there was a smaller second issue with the imprint 'Boston: Lilly, Wait, and Company'. "Only one other presentation copy of this work is recorded: the Haskell F. Norman copy, which sold at Christie's NY in 1998. That was one of fifty copies which Beaumont had bound in full leather. Considering normal book production practice, it is likely that the special full-leather copies were produced after the main edition. The Norman copy was inscribed by Beaumont to William Dunlap, whose relationship with Beaumont is unknown" (). Provenance: James W. Kingsbury (1813-81) (inscription on title in Beaumont's hand); Joseph W. Kingsbury; Scribner Rare Books Shop (1947); Thomas W. Streeter; sold Bonham's NY, 27 June 2006, lot 3046, $38,838. "Nestled along the clear blue straits between the great lakes called Michigan and Huron is an oblong and verdant island. Centuries ago, the Chippewa and Ottawa tribes named it Michilimackinac, or 'the Great Turtle'; [it is] referred to today as Mackinac but pronounced 'Mackinaw' . In 1670, the French Jesuit missionary Father Jacques Marquette and his intrepid interpreter Louis Joliet fled St. Ignace, Michigan, to settle on the 'Great Turtle' in the name of their homeland. Less than a century later, in 1759, the British took control of the island from the French and, in 1783, after signing the Treaty of Paris, Great Britain relinquished it to the fledgling United States, which had to defend and regain it during the War of 1812. The French pursued fur trapping there with vigor and cunning. But it was John Jacob Astor, the first US multimillionaire, who put Mackinac Island on the map in 1817, when Michigan was admitted to the Union and Astor chose the island as the main trading post of his fabled American Fur Company, a pelt empire that spanned from the Great Lakes to the Mississippi River. "Every June, the American Fur Company hosted a convention on Mackinac for thousands of trappers eager to sell or barter the bounty they had hunted the previous winter. The rest of the year, the island's population hovered at a mere 500. Situated on the southeast cliff a few hundred feet above the shoreline was a limestone fortress built by the British in 1761 and subsequently occupied by the US Army to protect the island's commerce and trade. "In 1820, one of the military officers stationed there was a young physician named William Beaumont. In 1810, he began a 2-year apprenticeship to a well-established Vermont physician named Benjamin Chandler and in 1812 passed his state's qualification examination. That same year, Beaumont enlisted with the US Army in search of adventure and clinical experience and served as a surgeon's mate in the War of 1812. After the end of that conflict in 1815, he resigned his post to set up a private practice in Plattsburgh, New York. Five years later, he turned his practice over to a cousin and re-enlisted in the Army, which assigned him to Fort Michilimackinac. "At this distant frontier outpost, Beaumont began the work that culminated in a remarkable, if not outright revolutionary, book - Experiments and Observations on the Gastric Juice and the Physiology of Digestion. But he hardly accomplished this gargantuan task alone. Indeed, Beaumont had the help and the body of a French Canadian fur trapper named Alexis St. Martin. "The story of Beaumont and St. Martin has been recounted so often it has acquired the finely burnished patina of hagiography. Yet even when stripped of its most sensational layers, their collaboration remains an inspiring and cautionary tale about the boundaries between physician and patient and medical investigator and human participant. "On the morning of June 6, 1822, as the annual pelt swapping jamboree was underway, a 20-year-o.
Edité par LondonTaylor and Francis for the Author -1873., 1862
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Livre Edition originale
FIRST EDITION. 5 vols. Folio. (56 x 38 cm). List of subscribers. Near contemporary full green morocco gilt by Riviere & Son, spines with raised bands richly gilt in compartments, top edges gilt. 367 hand-coloured lithographed plates after Gould, Joseph Wolf, H.C. Richter and W. Hart, mostly by Richter and Hart, some heightened with gum arabic. A fine, magnificent set. 'THE MOST SUMPTUOUS AND COSTLY OF BRITISH BIRD BOOKS' (Mullens and Swann). Gould was especially proud of this work, and it 'was seen - perhaps partly because its subject was British, as the culmination of [his] . genius' (Isabella Tree, The Ruling Passion of John Gould, London: 1991, p.207). The text is longer than in any of his other works, and the illustrations, many of them prepared from freshly killed specimens, include many more depictions of chicks, nests and eggs. Wolf, who drew 57 of the plates, had accompanied Gould on an ornithological tour of Scandinavia in 1856, and was responsible for persuading Gould and Richter to adopt a livelier treatment of the illustrations. Gould's first collaborative work with Josef Wolf. The German natural history painter Josef Wolf brought to Gould's monographs a realistic vigour and sensibility of nature lacking in the work of many of Gould's studio artists. "All of Wolf's plates represent a moment of suspended action. Gone are the stilted tableaux of birds frozen in profile purely for the sake of identification; Wolf's birds all bear the mark of the character of the species. 'You know', remarked Wolf, 'I make a distinction between a picture in which there is an idea, and the mere representation of a bird'" (Isabella Tree, The Ruling Passion of John Gould). Gould described The Birds of Great Britain as a return to his old love, and while the work does exhibit many similarities with the previously published Birds of Europe, the illustrations here incorporate more nests, eggs, and young than the earlier work. The work proved so popular that Gould was forced to increase the size of the edition after just two of its eventual twenty-five parts were issued. (Fine Bird Books, p.78; Nissen IVB 372; Sauer 23; Wood, p.365; Zimmer, p.261).
Date d'édition : 1826
Vendeur : Arader Galleries Drawings & Watercolors, New York, NY, Etats-Unis
Signé
Hardcover. Etat : Good. ANTOINE-CHARLES THELOT (FRENCH, 1798-1853) Oiseaux. Dessines d apres nature (a la plume). France, 1826 4to (10 1/4 x 7 in). 21 outstanding pen and ink drawings on paper of birds in elaborate natural settings (image size 6 1/4 x 4 1/2 inches), 20 tipped-in, and one drawn directly into a sketchbook, each signed and dated by the artist, and preceded by a leaf bearing the common (French) name and Latin scientific name in manuscript. Original red morocco gilt (extremities rubbed). Provenance: Bookplate of Marcel Jeanson on the front paste-down, Ornithological library. A selection is shown in this catalogue An exquisite album of bird drawings by renowned watercolor artist Antoine-Charles Thelot reveals his uncommon eye for intricate detail all conveyed without color. Each bird, from the exotic "Les Marabout" (or crane), to the humblest "Alouette" (or sparrow), is drawn against a dramatic, sophisticated backdrop. Loosely inserted is a small watercolor (image size 3 6/8 x 2 inches), signed by Thelot, of six cats gamboling in the moonlight, on the verso of which Thelot has written a long, apparently original, love poem to "Mitis." From the distinguished ornithological library of Marcel Jeanson, author of "Les Oiseaux de France" (1941-1999), who commissioned Master Painter Roger Reboussin (1881-1965) in Paris in 1935 to portray all the birds of France in their natural habitat. In 1942 Marcel Jeanson died, but Madame Jeanson allowed Reboussin to continue his work until his own death in 1965, by which time he had painted more than 400 species. The work was eventually published in 1991. Loca: 6.3BC.19F.
Edité par n.p., [1876], 1876
Vendeur : Kotte Autographs GmbH, Roßhaupten, Allemagne
Manuscrit / Papier ancien
4to. 87 pages written in Latin in Lautrec's hand, as well as his ownership signature on the first page, H. de T. Lautrec". Although he adds "Fables d'Esope" beneath his name, the passages cover a vast array of topics typical of a 19th-century child's education, including summaries of events in classical history, moral reflections, religious lessons, and philosophical musings. Each piece is about a page long and headed with a brief title. Brief translated excerpts follow:The notebook begins with a passage entitled "Men s Firmest Defense Is in Piety," in part: "O Lord, blessed are they who have put their hope in You! For when desolation invades their spirits, oppressed with the burden of affairs, they flee to You, and then, forgetting their sorrows, they draw strength and peace of mind from their source. You shelter them in a paternal embrace and spread before them the sacred light of faith O most sweet, nourishing religion and most holy faith, who can live without you." Lautrec was raised by his devoutly religious and overbearing mother, and began his formal schooling in 1872 at the prestigious Lycee Fontanes in Paris, but withdrew in 1875 due to his poor health. His mother's presence in his life at this time is certainly discernible in his writings on religion and philosophy in this notebook.The piece on page 30 is headed "On Socrates," which is followed by "On Fables." The latter, in part: "What is a fable but a tale for the improvement of men s morals, generally wrapped in an amusing image, in which the pleasant and the useful, although most unlike in nature, conspire to mutually adorn and defend one another? What do you suppose that those ancient inventors of tales intended with so many and such ingenious fictions? Just to tickle the ears of their readers with a vain arrangement of words? Not at all, but rather, when they put trees and animals on stage, their aim was that the bad, contemplating their deformity as in a mirror, would avoid rashness in counsel, avarice in the search for wealth, pride in command, and fraud in all aspects of life." This is an especially interesting piece, as Lautrec studied the fables of Phaedrus and La Fontaine while in school and these likely informed the allegorical animals that appear in his late drawings.He further explores the classical world in "On the Phoenicians" on page 43, in part: "The Tyrians took their origin from the Phoenicians. Those who inhabited the seashore, being troubled by frequent movements of the earth in their homeland, founded a city that they called Sidona on account of the abundance of fish on those coasts, for the Phoenicians call fish sidon. Then many years later, having been driven out by the king of the Ascalonians, they took to their ships, leaving behind their homeland, and founded the city of Tyre a year before the fall of Troy." Although Lautrec s artwork presents an extreme departure from the classical style, his familiarity with the stories can be seen in his body of work, including his portrayals of Mademoiselle Cocyle as Helen of Troy in La Belle Helene.The last page takes a moralistic slant on classical figures in a passage entitled "On Flatterers," in part: "Flatterers think that they can seek the favor of kings to the extent that they imitate them, but it often happens that they reproduce their vices rather than their virtues, as one or another example will sufficiently demonstrate to be true. It is said that Alexander s head was bent down toward his shoulder, and his friends were in the habit of also going around with their heads bent down toward their shoulders. When Plato first came to Syracuse, Dionysius the Tyrant immediately devoted himself entirely to geometry, from which it is easily understood that everyone consequently became a geometer, following the king s example." Lautrec takes a strong stance against flattery in this passage, a principle he certainly held throughout his life his paintings were decidedly unflattering and direct.Interior pages in fine condition, with general wear, staining, and soiling to the covers. This is an incredibly fascinating notebook rife with content from the young Toulouse-Lautrec. It dates to what was arguably the most crucial period of his development, during the time that he broke his legs, permanently succumbing to dwarfism. While recuperating, he incessantly practiced drawing and painting. A truly magnificent and significant notebook.
Edité par London: John Murray, 1877, 1877
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale Signé
First edition, presentation copy, inscribed on the title page, "With the compliments of the author". Most unusually for a Darwin presentation, the inscription is in Darwin's own hand rather than one of Murray's clerks. Different Forms of Flowers was published in a first edition of 1,250 copies on 9 July 1877. There was only a single issue, with the publisher's catalogue dated either January or March 1877, here the latter, without priority. Darwin explained in his autobiography that "this book consists chiefly of the several papers on heterostyled flowers originally published by the Linnean Society, corrected, with much new matter added, together with observations on some other cases in which the same plant bears two kinds of flowers. As before remarked, no little discovery of mine ever gave me so much pleasure as the making out the meaning of heterostyled flowers" (Life and Letters I, p. 78). Freeman remarks that, "had Darwin not chosen such genetically complex examples, he might have approached more nearly to an understanding of the laws of particulate inheritance". Regardless, it remains a seminal text on plant reproduction, adaptation, and evolution. It was translated into French and German during Darwin's lifetime, followed by four further languages after his death. Presentation copies of any of Darwin's books with the inscription written in the author's hand are notably uncommon: the usual procedure was for such inscriptions to be written by one of Murray's clerks on Darwin's behalf. We have handled just two other first editions of Different Forms of Flowers inscribed by the author, both of which had the March publisher's catalogue, as here. At auction, we count between two and four further authorial presentation copies, the range due to the inexact nature of some of the early 20th-century descriptions. Freeman 1277; Norman 602. Francis Darwin, ed., The Life and Letters of Charles Darwin, 1887. Octavo. Original green cloth, spine lettered in gilt, decorative bands at ends in gilt, covers blocked in blind, dark brown coated endpapers, Simpson & Renshaw binder's ticket on rear pastedown. Housed in a dark green quarter morocco solander box by the Chelsea Bindery. 15 woodcut illustrations and 38 tables within text. Publisher's 32-page catalogue dated March 1877 at rear. Spine ends gently bumped, cloth bright, binding very discreetly restored and recoloured, endpapers slightly faded, previous ownership signature on dedication page subsequently erased, a handful of neat pencil marks (annotation to p. 1 translating the title into French, marginal crosses and lines to a few other pp.), faint semicircular damp mark running through upper margins of first c.140 pages, else the contents notably clean, publisher's catalogue lightly foxed towards end: a near-fine copy.
Edité par LondonF.G. Moon -1849., 1842
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Livre Edition originale
FIRST EDITION. 6 vols. Elephant folio (61 x 43 cm). Half black morocco over grey cloth boards by J. Wright, the spines with gilt rules, raised bands, and gilt lettering, all edges gilt. Complete with 250 plates comprising lithographed portrait of Roberts by C. Baugniet, 2 engraved maps, 6 lithographed titles with vignettes and 241 tinted lithograph plates of which 121 are full-page and 120 half-page. Volumes I and II of Egypt with misnumbered in reverse order on the spines. Contents remarkably clean and fresh with just one half page plate (Slave Market in Cairo) with some minimal spotting. "One of the most important and elaborate ventures of 19th-century publishing. the apotheosis of the tinted lithograph" (Abbey Travel). David Roberts, RA (1796-1864), enjoyed a wide popularity in his day for his European views, but it is on the outstanding success of this project that the modern appreciation of his work is based. In August 1838 he arrived in Alexandria to start a carefully planned enterprise. It is claimed that he was the first European to have unlimited access to the mosques in Cairo, under the proviso that he did not commit desecration by using brushes made from hog's bristle. Leaving Cairo, he sailed up the Nile to record the monuments represented in the Egypt & Nubia division of the work, travelling as far as Wadi Halfa and the Second Cataract. At the time of publication, it was these views that excited the most widespread enthusiasm. Before leaving for the Near East, Roberts had already discussed publication with the engravers Edward and William Finden, but on his return both Finden and the publisher John Murray, who was also approached, baulked at the risks involved in a publication of the size and grandeur envisaged. However, Francis Graham Moon - "a self-made man from a modest background" (ODNB) who had attracted the attention of the queen and ventured to represent himself as "Publisher in Ordinary to her Majesty" - accepted the challenge, and persuaded Louis Haghe to lithograph Roberts's drawings. Roberts acknowledged that Haghe's work was hardly less important than his own, complimenting his "masterly vigour and boldness". The burdensome demands of the task may have even prompted Haghe's early retirement as a lithographer. The Reverend George Croly (1780-1860), poet and well-known contributor to Blackwood's and The Literary Gazette, was engaged to edit the text from Roberts's journal. At an investment of a staggering 50,000, this was "undoubtedly the most costly and lavish, and potentially risky, publishing enterprise that Moon had ever undertaken". As a promotional tool, an exhibition of the original drawings was opened in London in 1840 and subsequently toured the country, creating a considerable stir and drawing praise from Ruskin who described them as "faithful and laborious beyond any outlines from nature I have ever seen." The exhibition catalogue also served as a prospectus for the projected work, and was apparently very successful in bringing forward subscribers, without whom any work of this size would have been doomed. Egypt & Nubia was subsequently published in a variety of smaller formats. In a dramatic gesture, the lithographic stones for the original large format work were broken at an auction of the remaining plates in December 1853 so that the originals could never be reproduced. Widely recognised as the ultimate expression of tinted lithography, an artistic and commercial triumph, Roberts's Egypt & Nubia was the result of a uniquely fortuitous collaboration between artist, publisher and engraver. (Abbey Travel 272 & 385; Tooley 401-2; Blackmer 1432).
Edité par [A bord des navires et à Londres, 1776-1817]. 1814, 1817
Vendeur : JF LETENNEUR LIVRES RARES, Saint Briac sur mer, France
Membre d'association : ILAB
Signé
1 vol. in-folio (340 x 210 mm) de : 73 pp. de texte manuscrit. 45 aquarelles ou gouaches et 1 lavis d encre représentants des navires de diverses nations et une prison. Reliure d origine en parchemin doublée, reliure intérieure renforcée de manuscrits sur papier en italien, au dos desquels se trouvent des aquarelles de navires. (Reliure conservée « dans son jus », avec ses défauts d usage et traces de salissures diverses, quelques restaurations de papier ou comblements anciens. D après la numérotation manuscrite, 7 ff. seraient absents). Précieux « livre de bord » personnel d un marin de Marseille couvrant une période d une quarantaine d années, relatant ses embarquements successifs au commerce et dans la « Royale », de 1776 jusqu'à sa capture le 3 novembre 1805, sa détention sur les pontons et à la prison de Dartmoor jusqu au 27 mai 1814, et ses derniers embarquements de juin 1814 au 5 novembre 1817. Document d une valeur considérable pour la connaissance du milieu maritime de la fin du XVIIIe siècle, de l important trafic en Méditerranée et au-delà, avec en outre des récits de première main des batailles d Aboukir et de Trafalgar et de la vie des matelots français prisonniers sur les pontons britanniques. Ainsi nous pouvons articuler le manuscrit comme suit : Première partie : Du premier embarquement à Trafalgar (1776-1805) ; Deuxième partie : Captivité sur les pontons et à Dartmoor (1805-1814) ; Troisième partie : Liberté retrouvée. Derniers embarquements. (Mai 1814-Novembre 1817). La première partie (du premier embarquement à Trafalgar 1776-1805) comporte 31 embarquements, avec un texte indiquant, pour chaque navire, le récit détaillé de la navigation et une aquarelle le représentant. Ces navigations « au commerce », toutes en Méditerranée, sauf deux aux Antilles, deviennent à partir du 18ème embarquement (1792) des navigations d escadre au service du Roi, de la République, puis de l Empereur, dont la première, après un combat contre les Anglais, s achève par une désertion et un emprisonnement. La lecture de ce pittoresque et émouvant document laisse l impression d une vie tout entière dévouée à l action. À peine débarqué et malgré toutes les péripéties, Jaubert recherche immédiatement un autre navire, comme si le sol lui brulait les pieds ; attitude qui n est pas sans rappeler celle de l illustre Duguay Trouin. Les aventures vécues par Jaubert sont innombrables : il se retrouve passager clandestin sur un brigantin italien ; conduit le Pacha de Constantinople en Crète, le Grand Vizir de Crète à Constantinople et des femmes grecques d île en île ; amène d Alger à Marseille 280 esclaves français capturés à Corfou ; charge des figues à Calamata, des oranges, du beurre, du fromage et du bétail à Cire (Skyros ?) ; transporte du café et du sucre de Guadeloupe jusqu à Marseille ; vend des raisins de Corinthe et du tabac de Trieste à Gênes ; prend de l orge à Bizerte qu il négocie à Malte ; poursuit des corsaires et des pirates « Mahomains » ; livre du blé à Bône pour le bey d Alger; échappe de peu à une épidémie de peste ; fait de la contrebande de Livourne à Barcelone ; est à deux doigts de tomber, comme il dit « en esclavitude » près de Hydra ; affronte maintes tempêtes ; est attaqué par des vaisseaux anglais, etc Cette première partie, trépidante, se termine en 1803, après la 38ème navigation, par une incarcération « menottes et chaîne au cou » au Fort Saint-Nicolas de Marseille, puis à Toulon. Elle est illustrée de 31 aquarelles, représentant avec une remarquable précision les coques et gréements des tartanes, barques, bricks, corvettes, bombardes, chebecks, seneaux, vaisseaux, brigantins, polacres, boulichous, frégates, goélettes, etc sur lesquels il embarque. Deux de ces aquarelles sont signées : l une « Degun fecit in Gange » (n°10), l autre « Degun fecit in nave Gange 1812 » (n°11). Or, Jaubert indique plus loin qu il fut emprisonné 27 mois à bord du ponton anglais Le Gange, commandé par le « Capitaine Le Roux, Face de Feu » à partir de 1811. Il est donc possible que Degun, aquarelliste de talent, détenu lui-même sur le Gange, ai dessiné les navires que lui décrivait son compagnon d infortune à partir de notes conservées de ses navigations. La qualité de ces aquarelles est proche des travaux des portraitistes de navires comme les « Roux » de Marseille. La variété des navires de toutes origines sur lesquels séjourne Jaubert constitue une remarquable source d informations sur le trafic maritime de l époque en méditerranée, et des acteurs : français, italiens, espagnols, grecs, arabes et même américains. De même la nature des cargaisons et les ports d escales cités sont autant de détails précieux (Marseille, Toulon, Barcelone, Livourne, Mahon, Alger, Constantinople, Salonique, Corfou, Malte, Messine, Gènes, Cire, Cadix, Malaga, Trieste, Minna.). Jaubert relate aussi son enrôlement à bord de plusieurs navires de la « Royale », dont le vaisseau le Scipion qui participe à la bataille d Aboukir en 1793 (figure la liste des navires de l escadre française). Après divers embarquements au commerce, notre marin retrouvera la Royale en 1805 : Jaubert est nommé gabier de hune sur le vaisseau Le Formidable, armé de 80 canons, qui part pour Gibraltar et gagne les Antilles, dans l escadre de l Amiral Villeneuve. Son récit relate diverses fortunes de mer et donne le détail des opérations militaires victorieuse de l Amiral contre les anglais en Martinique, puis en Guadeloupe, ainsi que des prises effectuées: Au retour de la Guadeloupe, au large des Açores le navire fait «prise d un bâtiment marchant anglais, [d ]un corsaire idem avec une prise d un bâtiment marchand espagnol qui venoit de l Indes chargé de marchandises sèches de l Indes et [de] huit millions d argent monnoyes que nous avons pris à la remorque et le même soir nous avons bruler le batiment marchand pris anglais ainsi que le corsaire qui avoit fait la prise espagnole » (Fin juin 1805). Après avoir pris part à la bataille navale du Cap.