Sans nom d'éditeur

First edition, one of 40 numbered copies on Japan paper, the only printing with 3 on Auvergne paper.
Autograph inscription from Robert Ganzo to a friend.
A rare and good copy.

First edition of the French translation established by Robert Ganzo, one of 400 numbered copies on Marais paper, the only issue.
Autograph inscription signed by Robert Ganzo to a couple of his friends.
Preface by Jean Cassou.
Handsome copy.

Lyon edition of this famous songbook.
Scores at the end of each volume. 48 pages of scores in volume 1, 48 in volume 2, 38 in volume 3, 40 in volume 4.
Publisher's bindings, full contemporary red morocco. Spine with motifs in gilt. Red morocco title labels. Gilt tooling on the covers. Spines slightly faded.
A very fine copy.
Most of Volume I includes erotic and anacreontic songs. Volume II: chansons pastorales et poissardes, volume III: sujets particuliers et vaudevilles, volume IV: chansons libres et joyeuses.

First edition, rare. A frontispiece depicting Isaac Meïo as frontispiece by the author, as well as a figure created by the same. Title page in red and black.
Contemporary full glazed calf binding. Spine with four raised bands decorated with a red morocco title-label. All edges speckled. Headcaps worn, joints cracked and corners slightly bumped. Some faint dampstains and a small tear at the bottom of page 15.
A worthy representative of the Age of Enlightenment, Boyer d'Argens is a philosophical writer, skeptic and pamphleteer; his series of critical and epistolary books, in the manner of the Persian Letters (Jewish Letters, Chinese Letters, Cabalistic Letters) made him famous. In the epistle, the author confesses his motivations in writing this novel: a Jewish usurer having deceived him during his military period, he claims to paint here an honest Jew. The work is in fact a libertine novel recounting the loves of the Count de Vaxere, initially destined for the ecclesiastical state. Love for a Venetian Jewish woman will lead him to conversion.

Seventh edition of Les Saisons, after the first edition published in 1769 and illustrated by Gravelot, but the first printing with Moreau's illustrations. This edition is a reprint of the 1769 edition and reproduces Chauffart's headpieces, but adds 7 figures by Moreau, engraved by Delaunay, Duclos, Lebas, and Prévost. It should also be noted that the heavy paper used for this edition is not the same as the fine paper of the first edition.
Contemporary full calf binding. Smooth spine richly decorated. Red morocco title label. Flamed calf boards (with Greek key border frame) of a later date added during restoration. Corners slightly bumped. A crack to the upper joint extending 5 cm. A reasonably good copy.
Les Saisons is preceded by a preface on bucolic and pastoral poetry and followed by tales (philosophical ones such as Ziméo), occasional pieces, and finally oriental fables. Voltaire had great admiration for Saint-Lambert, particularly for his masterwork: Les Saisons. This descriptive poetry is not without charm and would continue to be appreciated in the 19th century. Saint-Lambert was moreover indispensable to 18th-century literary society through his presence in the salons.

First bilingual edition with French translation facing the original Béarnais text, one of 300 numbered copies on alfa paper, the only issue with 10 on Japan paper.
Work illustrated with original drawings by L. Bonnat, E. Bordes, Casenave, Castaing, Dupuis, Gayac, Labrouche, Laforgue, Le Coindre, Léon-Dufour, Touzeau, A. Rouquet...
An engraved portrait of the author by P. Lafond enriched with the autograph signature of S. Palay.
Worming on the final endpaper, otherwise a handsome copy.
Autograph inscription signed by Simin Palay to Léon-Dufour who participated in illustrating the work.

First edition printed in small number and anonymously.
Pencil annotations at foot of last page of text.
Rare pamphlet.

Rare and interesting gathering of these two works. New edition of the Système de la nature after the rare first edition of 1770, and first edition of Helvetius's work at the same date of 1774 as this new edition of Mirabaud; in reality three editions appeared at the same date, with different collation, without being able to determine if there is a true first edition.
Contemporary full marbled sheep binding. Richly decorated smooth spine. Red morocco title label, and black morocco volume label. Red edges. Tail headcaps torn away. A brown stain on the upper board of volume I. Restoration using a piece of leather on the upper board of volume II. Fairly good copy.
Helvetius's work is an exegesis and examination of the Système de la nature, the author seems to have condensed the material in the form of maxims and assertions, all resting on a strong materialist creed. We now know that the work may not be by Helvetius, although we recognize his philosophy in it. As for Mirabaud's Système de la nature, it was received like a bombshell in literary circles, and ultimately quite poorly received by the philosophers. It was not d'Holbach's openly materialist theses that were condemned but the demonstration of atheism and anticlericalism.

First edition in small format following the original published in Berlin and Paris on the same date.
Contemporary full marbled calf binding. Smooth spine decorated with urn tools and roulettes. Black morocco title and volume labels. Roulette on edges. Lacking at head of volume I; a tear with loss at tail. Rubbing. 3 corners slightly bumped.
The novel is an exchange of letters about the atrocities committed in France during the revolutionary period, by a noble family who fled France in 1792 due to persecution. Although this novel remains a bildungsroman with pedagogical and moral purpose, Madame de Genlis warns in the preface that it is not intended for children. The Countess de Genlis was a famous pedagogue and was charged with the education of the children of Orléans, notably that of the future King of the French; she was forced into exile during the Terror.

First edition, illustrated with an allegorical frontispiece and a portrait of Madame du Barry. The second part has the title: Precis Historique de la Vie de Mad. la Comtesse du Barry. Anonymous edition whose author would be Jean Frédéric Bernard according to Barbier.
Contemporary full marbled glazed calf binding. Smooth spine decorated. Fragile headcap with loss. Joints cracked at head. Upper joint split at tail. Joints splitting. Rubbing. One yellow dampstain in margin in the middle of the work, running over several pages of the second part (from p. 50).
Collection composed of 12 gallant and libertine novellas set in various places in Europe.
The work was first attributed to Jean Frédéric Bernard, better known for his research and compilation works such as L'éloge de l'Enfer, or Recueil de voyages au nord, rather than for his literature.
However, Octave Uzanne informs us, in his preface to the 1881 reprint, that Jean-Frédéric Bernard had died in 1752. It is therefore necessary, according to him, to attribute this collection to François Bernard who published under his own name only an Analyse de l'histoire philosophique et politique de Raynàl in 1775, but who engaged in numerous translations from English and German. Although this Bernard is cited by Quérard, Uzanne tells us no more about "the life of this peaceful Dutchman who must have died, in all likelihood, as the Revolution approached" because, he writes, "the lantern of erudition becomes a dark lantern when it interrogates such a depth of obscurity." Uzanne is moreover quite critical of the literary qualities of the work for which he nevertheless prefaces a reprint, but recognizes as its principal quality that it offers "an overall view of the merchant bourgeoisie of the last century, an ideal of grey naturalism, without any of the spices of imagination, but, in sum, an exact account of the small scandals that occurred somewhat everywhere then outside of France."
These novellas nonetheless remain solidly constructed and well written, they are in the taste of those by Baculard d'Arnaud, with a certain humor and satire added.

French first edition.
Contemporary full marbled and glazed calf binding. Raised spine decorated with 5 fleurons. Red morocco title-label. One crack to the lower joint at head.
Response to the letter addressed to the Royal Society of London by John Hill, in which he affirmed and demonstrated that a woman can conceive and give birth without carnal commerce, and that he could thus restore honor to those women who had given birth without having had commerce with their husbands; this response is satirical and full of humor, mocking Hill's system, which, it must be remembered, he had only written to take revenge on the Royal Society of London which had refused his candidacy.

First edition printed on Japan paper.
Half mouse-colored cloth binding, smooth spine, black sheep title-label, marbled paper boards, light stains on boards, corners slightly bumped, top edge gilt, contemporary binding.
Signed autograph inscription by Jean Saulnier.
Frontispiece with a portrait by A. Lemoyne. Handsome interior condition.

Second edition and first published by Cazin, with two volumes added; a first edition in 4 volumes was published in Geneva in 1782. Musical scores at the end of volumes. Only volumes 5 and 6 contain no musical score, the songs being sung to airs already noted in the other volumes, which are identified by the air numbers. 48pp. of musical scores in volume 1; 48pp. in volume 2; 38 in volume 3; 40 in volume 4.

Later brown half-sheep binding (1800). Smooth spine decorated with three fleurons and fillets. Red morocco title-label with roulettes. Red morocco volume label in a roundel. Marbled paper boards. Rubbing to headcaps and joints. Corners slightly bumped.

First edition of these three rare memoirs on Protestantism, all three published without editorial indication.
Contemporary full blonde calf binding. Smooth spine decorated. Red morocco title label. A volume label is present, the book was meant to be shelved among a collection of pamphlets and memoirs. Joints cracked and split. Headcaps worn. Corners bumped.
Novi de Cabeirac studies in his memoir the effects of the Revocation of the Edict of Nantes. We know he was fanatically intolerant, even though his study of demography and economics is serious.
The second memoir pleads the cause of Protestants before the royal power and denounces the horror of the crimes that were perpetrated against them.
The identity of the author is still debated. The work is sometimes attributed to Antoine Court, a central figure of the Desert Church. Born in 1695 on the Ardèche borders of the Cévennes and died in 1760 in Lausanne, he was at the heart of the dramas engendered by the revocation of the Edict of Nantes. A clandestine preacher, then consecrated pastor by a former Camisard, Pierre Corteiz, Antoine Court was, after the Cevennes revolt, one of the restorers of French Protestantism. Denouncing prophetism, he organized at Montèzes, near Monoblet, in the Cevennes region, the first synod of the Desert in order to reestablish the discipline of the reformed churches. Hostile to violence and an advocate of passive resistance, Court defended throughout his life the cause of the French Protestant community and freedom of conscience. To this end, he published the Patriote Français et Impartial in 1752. In his Histoire des troubles des Cévennes, published in the year of his death, he established himself as one of the first reformed historians of the Camisards war. Antoine Court had therefore published in 1752 this book entitled Le patriote français et impartial in response to the letter from the Bishop of Agen to the Controller General Machault d'Arnouville, promoting an attitude of intolerance toward the reformed. It is true that the Lettre d'un patriote, circulated four years later, presents some similarities with the previous work. Besides the word patriote which raises questions, certain parts seem very close. But what reasons could have pushed Antoine Court to reiterate four years later his defense of the Protestant community in a quite similar work though much more reduced?" (Link to the article at the bottom of this notice).
The third memoir wants to vindicate the Catholic religion and attacks the writings and persons who dare to defend Protestants, and denies the negative effects of the Revocation of the Edict of Nantes. It is in defense against the second memoir of this collection: Lettre d'un patriote, that Novi de Caveirac will write his famous Apologie de Louis XIV.

Second edition, the original having been published in Liège in 1740.
Contemporary full marbled sheep binding. Smooth spine decorated. Red morocco title label and black morocco volume label. Upper joint cracked. Headcaps worn with lacks to upper joints, except at foot of volume II. 4 corners bumped.
Extract from the last chapter: "J'ai cru tenir la fortune entre mes mains, je m'en félicitais ; & du même coup d'oeil je l'ai vue s'envoler d'une aile rapide, comme un moineau qui s'échappe des mains d'un enfant qui n'a pas l'avisement de le retenir. Ma vie n'est plus qu'untissus de chagrin & de peine ; assorti du regret amer du passé, & d'une desespérante incertitude de l'avenir." ["I thought I held fortune in my hands, I congratulated myself; and with the same glance I saw it fly away on rapid wing, like a sparrow escaping from the hands of a child who has not the wisdom to hold it. My life is now nothing but a fabric of sorrow and pain; matched with bitter regret of the past, and a despairing uncertainty of the future."] Libertine novel in the first person which describes the rise of a brilliant young man under the regency, his love of women... This novel was very successful and was published until the 19th century.

First edition. One frontispiece.

Contemporary full blonde sheep binding. Smooth spine decorated, red morocco title-label. Headcap worn. One hole at foot. 2 corners slightly bumped. Rubbing.

First edition, rare. A title vignette by Eisen.
Contemporary full glazed and marbled calf binding. Smooth spine decorated with grotesque ornaments. Red morocco title label. Headcaps worn. Rubbing to joints and corners.
The moral philosophy essay is one of the two main philosophical texts (and chronologically the first) by Maupertuis, who, like all scholars of his era, was multidisciplinary. The second work in this field would be the Essay on Cosmology published in 1750. One should not be misled by the classical title given to this treatise; if the Essay is a reflection on good and evil, it is a vision of good and evil that is primarily sensualist, based on the sensible experience of an event, considering that all events are merely phenomena. The work was published in Berlin, the philosopher's adopted homeland at that time.

9-page signed autograph manuscript, dense handwriting.
Review of the play Les Sentiers de la vertu, comedy in 3 acts, with Robert de Flers, performed at the Théâtre des Nouveautés, December 7, 1903.
Accompanied by two interesting signed autograph letters addressed to M. Melchissedec. The first refers to his future musical participation in a celebration given in honor of Victor Hugo on February 27, 1881. The second deplores, following this same performance, the fact that M. Melchissedec did not receive the photograph commissioned from Carjat by Hugo and promised in thanks for his participation.

Second edition.
Contemporary pamphlet in original blue wrappers. Lacks to head. One crease to upper cover. Pristine copy with conjugate leaves.
A scholar and man of the Enlightenment, Spallanzani embraced numerous scientific disciplines, and his experiments were decisive for many fields, such as fertilization, the refutation of spontaneous generation, regeneration... He died in 1799, one year before the publication of this biography.

New edition expanded with edicts until 1610; in all likelihood, the first appeared in 1599.
Contemporary full vellum binding. Smooth spine. Title in black ink partly illegible. The endpapers are detached from the boards. Loose stitching with some sections protruding. One gallery of worms 1 cm long in the right margin affecting one letter p. 169 and three following pages, and p. 69 to 72. Pale dampstain in lower margin on the first leaves.
The first edict is that of Charles IX of January 17, 1561 and the last a Declaration by King Louis 13, of May 22, 1610, being 17 edicts, including the Edict of Nantes 1598 given by Henri IV; all concern the wars of religion and their consequences. Pierre Belloys was a counselor to Henri IV.

Both rare first editions.
Contemporary full mottled calf binding. Smooth spine with 4 tools. Red morocco title and volume labels. Triple fillet frame on covers. Small lack at head. Lack to upper joint at head. Upper joint cracked at foot. Light lack at foot. Rubbing.
Gin's work is first a defense of monarchical power (as the natural form of government) against the theories of Montesquieu and those of Mably, but beyond this starting postulate, the whole is remarkable for its economic reflections, Gin making agriculture and industry the pillars of economic health. The author strives through history and examples borrowed from various nations like China to prove his theories irrefutably.
Voltaire's work is a skillful reflection on the relativity of laws, and notably on their injustice. Voltaire examines each category of criminality (theft, crime, heresy, sorcerers...) and the laws that have been established. One of Voltaire's last works animated by the ardor to convince his contemporaries of the urgency of reforming the laws.

A re-impression of 110 numbered copies of the extremely rare first edition of 1697, this one of 90 on vergé paper.
The text is preceded by a note on the life and works of the author.
Three small chips to head and foot of spine, no foxing.
A rare copy of this colonial novel set in the French West Indies.

First edition. A title vignette repeated on all four volumes, depicting Erasmus. Title pages in red and black.
Contemporary full brown calf binding. Spine with raised bands richly decorated. Red morocco title and volume labels, decorated with roulettes. One lack to headcap of volume I due to worming, same to the last compartment. Dampstaining to upper board of volume II (darkened). 3 corners bumped.
Essentially historical memoirs, the marquis de Montglat rarely puts himself on stage, carefully gathering the facts of his time, from 1635 to 1668; although the memoirs provide military details (campaigns between France and Austria), Montglat applies himself to unraveling the mechanisms of the court; the troubles of the Fronde are skillfully described and with much more impartiality than in all the memoirs of the time (Retz and associates). The preface that recommends the book is by Father Bougeant, a highly regarded Jesuit man of letters and historian, who applied himself to editing these memoirs very conscientiously.

First edition.
Full blonde calf binding, smooth spine decorated with gilt fleurons and compartments, red morocco title-label, blind-ruled border on covers, headcaps slightly rubbed, contemporary binding.
Handsome copy free from foxing.

Second edition, after the first of 1757.
Contemporary full calf binding. Smooth spine, decorated. Red morocco title label, and black morocco volume label. Two small tears with lacks on the upper cover of volume I. Handsome copy.
Essay on political events in France from 1658 to 1739. Considering the bitter criticisms against Louis XIV whose policy Castel judged despotic, Castel's family preferred posthumous publication. The work is much more than a political essay, the events being only a pretext for the author to establish his economic and political theories specific to the Enlightenment. The essence of the author's thought being the happiness of peoples. He is the author of the famous "Projet pour une paix perpetuelle en Europe" premises of the future Europe (EEC). To situate the spirit of the character, let us recall that he was excluded from the French Academy for having criticized the way ministers were appointed by the king, when they should have been elected by a council.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the end of the 16th or very beginning of the 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in an old hand beneath the plate mark: "Le chasseur prend les petits du tigre et met dans des trappes des miroirs qui représentent les petits qu'il a enlevés. Cette bête stupide croyant les voir effectivement, entre dans les filets et hurle, étant prise." ["The hunter takes the tiger cubs and places mirrors in traps that represent the cubs he has taken. This foolish beast, believing it actually sees them, enters the nets and howls, being caught."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition of preservation for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, the trade of engravings, publishing and writing. He trained under Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which would be frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on projects by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Franz Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin legend in the lower part of the engraving.
Manuscript translation in old handwriting under the plate mark: "Des chasseurs par le commandement du roi de France cherchent beaucoup de fientes de cerfs et donnent les crottes des jeunes cerfs aux chiens afin que par l'odeur ils apprennent à connaitre l'âge des cerfs.." ["Hunters by command of the king of France search for much deer dung and give the droppings of young deer to the dogs so that by scent they learn to know the age of the deer"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a free master in the guild of Antwerp painters. He then began a journey through Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. He worked there for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the Clement VII hall of the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, engraving commerce, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on projects by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Franz Floris (Lot's Daughters) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Impression on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures within the plate.
Latin caption in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "On dit que la Barbarie produit de très bons chameaux que chassent les soldats de la marine pressés par la faim. Cette viande quoique très dure les rassasie." ["It is said that Barbary produces very good camels which are hunted by sailors pressed by hunger. This meat, although very tough, satisfies them."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted along the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the guild of Antwerp painters. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decorations planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works based on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Impression on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures within the plate.
Latin caption in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "Souvent un chasseur tombe sans prendre garde dans des cavernes ou des grottes couvertes d'herbes par dessus d'où ses compagnons ne peuvent le retirer, mais il meurt malheureusement et demeure la pature des serpents qui y sont et des hydres" ["Often a hunter falls unawares into caverns or grottoes covered with grass above, from which his companions cannot retrieve him, but he dies miserably and remains food for the serpents and hydras dwelling there"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted along the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the guild of Antwerp painters. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decorations planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works based on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin legend in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "Le désert d'Appulie nourrit de couleuvres les grues et aussi les cigognes attaquent leurs nichées. Elles engagent le combat avec vigueur de leurs becs et les mordent. Le spectacle est très divertissant pour les colons" ["The desert of Apulia feeds cranes with snakes and also storks attack their broods. They engage in combat vigorously with their beaks and bite them. The spectacle is very entertaining for the colonists"].
Watermark visible by transparency.
The margins of the engraving have been reinforced with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII hall in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, the print trade, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he had his own workshop, which would be frequented by his sons, Theodoor and Cornelis, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Frans Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin legend in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "En Italie les vipères se plaisent à se cacher dans les marais. Quand elles entendent un chien aboyer, elles sortent des buissons. On les saisit alors avec une fourche et on les met dans un sac avec une pince. Elles sont préparées comme remède pharmaceutique" ["In Italy vipers enjoy hiding in marshes. When they hear a dog barking, they come out of the bushes. They are then seized with a fork and put in a bag with tongs. They are prepared as pharmaceutical remedy"].
Watermark visible by transparency.
The margins of the engraving have been reinforced with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII hall in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, the print trade, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he had his own workshop, which would be frequented by his sons, Theodoor and Cornelis, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Frans Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "In winter, the porcupine is taken by dogs or in nets, or when it flees to hide in dark holes, hunters pursue them with rakes and hoes".
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decor planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Le bubale est une espèce de boeuf cruel et féroce. Les chasseurs pour le prendre le lassent en faisant courir et aboyer des chiens après lui, qui le mordent, jusqu'à ce qu'il tombe, n'en pouvant plus" ["The bubale is a species of cruel and ferocious ox. Hunters to catch it lasso it by making dogs run and bark after it, which bite it, until it falls, exhausted"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Ceux qui s'occupent à surprendre les lions dans des filets portent une torche de la main gauche et un bouclier de la droite pour se garantir du feu: les lions fuyant les flammes, se jettent dans les filets qu'on lui a tendu." ["Those who busy themselves with surprising lions in nets carry a torch in the left hand and a shield in the right to protect themselves from fire: the lions fleeing the flames throw themselves into the nets that have been set for them."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

First edition, published under the pseudonym of Claudinet and illustrated with original erotic engravings by André Dunoyer de Segonzac, one of 250 numbered copies on vergé d'Arches paper, the only printing.
With 9 free compositions by André Dunoyer de Segonzac, consisting of 2 attractive original hors texte etchings, one title vignette heightened in red showing a bird on a phallus, one vignette on the justification leaf showing a naked woman and five culs-de-lampe with erotic motifs.
Spine slightly faded, slight marginal traces of adhesive paper to endpapers, bookseller's catalogue label pasted to final pastedown, but otherwise a good copy.
Rare.

Posthumous first edition, attributed to Paul Claudel, of 26 lettered copies on B.F.K. de Rives paper.
A rare and very good copy.

First edition, rare. The second work is also in first edition, decorated with a frontispiece representing the devil handing a letter to a gentleman.
Contemporary full blonde calf binding. Ornate raised band spine. Red morocco title-label. One tear p. 127. Headcaps slightly worn.
Outstanding anonymous short novel, typical in its construction and writing of the first half of the 18th century, which narrates the encounter between a gentleman and a female duellist, the tallest woman he had ever seen; she will eventually tell her love story and provide an explanation for this curious duel. The second work, satirical, denounces, mocks and criticizes numerous subjects with bite in a tone that is to say the least strange. Certain veiled references seem abstruse.

First edition.
Contemporary full pasteboard binding, paper covered, smooth spine, red morocco title-label, blue pencil inscription on a blank page.
Historical satire presented in the form of long poems in the manner of Lamartine. Very rare.

Authentic original engraving executed in burin after a 16th-century painting by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artist's signature in the plate.
Latin caption in the lower part of the engraving.
Old manuscript translation below the plate mark: "Ainsi se chassent les loutres dans des barques en châne creux. Elles sont frappées dans l'eau avec un trident crochu" ["Thus otters are hunted in boats made of hollow oak. They are struck in the water with a hooked trident"].
Watermark visible by transparency.
The engraving has been mounted and restored with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of the great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Authentic original engraving executed in burin after a 16th-century painting by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Ainsi les canards attachés sur le fleuve chantent, pendant que ceux qui surviennent sont blessés d'un coup de feu et charpillent leurs plumes sur le fleuve" ["Thus the ducks attached on the river sing, while those that come are wounded by gunshot and scatter their feathers on the river"].
Watermark visible by transparency.
The engraving has been mounted and restored with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of the great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced engraving on copper, drawing, the commerce of engravings, publishing and writing. He trained under Hieronymus Cock, in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which would be frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works based on projects by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Half green calf binding, spine with 5 raised bands rubbed, spine decoration faded.
Collection of illustrations of the statues adorning Paris City Hall accompanied by biographies of the illustrious figures represented. Illustrations hors texte each mounted on tabs.
Handsome copy.
Rare.

First edition of this auction catalogue held on November 27, 28 and 29, 1922 at the Hotel Drouot.
Iconography.
A small tear at the head of one joint, small stains on the front cover, handsome interior condition.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century. This is an illustration of a passage from the Acts of the Apostles, 5.19-20: "But the angel of the Lord by night opened the prison doors, and brought them forth, and said, Go, stand and speak in the temple to the people all the words of this life.". Latin caption in the lower portion of the engraving. Artist's signature in the plate. Numbered notation "10" in the lower right corner, within the engraving. Manuscript notation "143" in the margin in the upper right corner of the plate. An early manuscript annotation in Greek characters below the plate mark. Crown watermark visible by transparency. Occasional light foxing and small dampstains principally marginal, otherwise very handsome condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century. This is an illustration of a passage from the Acts of the Apostles, 8.38-39: "And he commanded the chariot to stand still: and they went down both into the water, both Philip and the eunuch; and he baptized him. And when they were come up out of the water, the Spirit of the Lord caught away Philip, that the eunuch saw him no more.". Latin caption in the lower portion of the engraving. Artist's signature in the plate. Numbered notation "15" in the lower right corner, within the engraving. Manuscript notation "143" in the margin in the upper right corner of the plate. An early manuscript annotation in Greek characters below the plate mark. Crown watermark visible by transparency. Occasional light foxing and small dampstains principally marginal, one skilful marginal restoration using a small piece of transparent filmoplast on the verso, otherwise very handsome condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, early 17th-century work.This is an illustration of a passage from Acts of the Apostles, 9.1-3: "Cependant Saul, respirant encore la menace et le meurtre contre les disciples du Seigneur, se rendit chez le souverain sacrificateur, et lui demanda des lettres pour les synagogues de Damas, afin que, s'il trouvait des partisans de la nouvelle doctrine, hommes ou femmes, il les amenât liés à Jérusalem. Comme il était en chemin, et qu'il approchait de Damas, tout à coup une lumière venant du ciel resplendit autour de lui" ["But Saul, still breathing threats and murder against the disciples of the Lord, went to the high priest and asked him for letters to the synagogues at Damascus, so that if he found any belonging to the Way, men or women, he might bring them bound to Jerusalem. Now as he went on his way, he approached Damascus, and suddenly a light from heaven shone around him"].Latin caption in the lower part of the engraving.Artist's signature in the plate.Numbered mention "16" in the lower right corner, within the engraving.Manuscript notation "149" in margin in the upper right corner of the plate.An old manuscript annotation in Greek characters below the plate mark.Crown watermark visible by transparency.Rare and discreet foxing and small dampstains mainly marginal, otherwise very fine condition for this extremely rare engraving of great freshness.Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, early 17th-century work. Latin caption in the lower part of the engraving. Artist's signature in the plate. Numbered mention "17" in the lower right corner, within the engraving. Manuscript notation "150" in margin in the upper right corner of the plate. Crown watermark visible by transparency. An old manuscript annotation in Greek characters below the plate mark.
This is an illustration of a passage from Acts of the Apostles, 9.22-25: "Cependant Saul se fortifiait de plus en plus, et il confondait les Juifs qui habitaient Damas, démontrant que Jésus est le Christ. Au bout d'un certain temps, les Juifs se concertèrent pour le tuer, et leur complot parvint à la connaissance de Saul. On gardait les portes jour et nuit, afin de lui ôter la vie. Mais, pendant une nuit, les disciples le prirent, et le descendirent par la muraille, dans une corbeille." ["But Saul increased all the more in strength, and confounded the Jews who lived in Damascus by proving that Jesus was the Christ. When many days had passed, the Jews plotted to kill him, but their plot became known to Saul. They were watching the gates day and night in order to kill him, but his disciples took him by night and let him down through an opening in the wall, lowering him in a basket."]
Rare and discreet foxing and small dampstains mainly marginal, otherwise very fine condition for this extremely rare engraving of great freshness.
Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin by Claes Jansz Visscher, called the Piscator, after a 16th century painting by Johannes Stradanus.
Proof on watermarked laid paper, early 17th century work.This illustrates a passage from Acts of the Apostles, 16.12-14: "From there we traveled to Philippi, a Roman colony and the leading city of that district of Macedonia. And we stayed there several days. On the Sabbath we went outside the city gate to the river, where we expected to find a place of prayer. We sat down and began to speak to the women who had gathered there. One of those listening was a woman from the city of Thyatira named Lydia, a dealer in purple cloth. She was a worshiper of God. The Lord opened her heart to respond to Paul's message.".Latin caption in the lower portion of the engraving.Artists' signatures in the plate.Numbered reference "27" in the lower right corner, within the engraving.Manuscript notation "160" in margin in the upper right corner of the plate.An old manuscript annotation in Greek characters below the plate mark.Crown watermark visible by transparency.Very rare and discrete marginal foxing, a skillful restoration using a small piece of transparent filmoplast on the verso, otherwise fine condition for this extremely rare engraving of great freshness.Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605. After beginning to learn painting from his father, and following his death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria

, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Original engraving executed in burin by Claes Jansz Visscher, called le Piscator after a 16th-century painting by Johannes Stradanus.
Impression on watermarked laid paper, work from the early 17th century.
This is an illustration of a passage from Acts of the Apostles, 19.13-16: "Then certain of the vagabond Jews, exorcists, took upon them to call over them which had evil spirits the name of the Lord Jesus, saying, We adjure you by Jesus whom Paul preacheth. And there were seven sons of one Sceva, a Jew, and chief of the priests, which did so. And the evil spirit answered and said, Jesus I know, and Paul I know; but who are ye? And the man in whom the evil spirit was leaped on them, and overcame them, and prevailed against them, so that they fled out of that house naked and wounded." Latin caption in the lower portion of the engraving. Artists' signatures in the plate. Numbered notation "29" in the lower right corner, within the engraving. Manuscript notation "162" in margin in the upper right corner of the plate. An old manuscript annotation in Greek characters below the platemark. Crown watermark visible by transparency. Minimal foxing and light marginal dampstaining, not affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Johannes Stradanus, called Giovanni Stradano or Jan van der Straet was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605. After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He began a journey through Europe: in France, then in Italy, where he stayed first in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic décor planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Original engraving executed in burin after a 16th-century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration from the Book of Tobit (2.9.), in the Old Testament: "But Tobit, fearing God more than the king, took away the bodies of those who had been killed, hid them in his house and buried them during the night.".
Latin legend in the lower part of the engraving.
Artist's signature in the plate.
Numbered marking "8" in the lower right corner of the engraving, and manuscript notation "116" in the margin in the upper right corner.
A manuscript annotation in pencil in Greek characters under the right corner of the plate mark (translation of the legend).
Watermark visible by transparency.
Very rare and minimal foxing mainly marginal, a discreet angular fold mark without damage to the engraving, otherwise very fine condition for this extremely rare engraving of great freshness.
Maarten de Vos (or Martin), Antwerp 1532-1603, is a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. We owe him historical paintings in the Mannerist style, notably a 'Saint Paul Bitten by a Viper on the Island of Malta' (1568) which is in the Louvre Museum in Paris.

, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian historical painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Original unsigned engraving, probably executed in burin after a 16th century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, early 17th century work.
This is an illustration of the Gospel according to Matthew 25.35, "For I was an hungred, and ye gave me meat".
Latin caption in the lower portion of the engraving.
Numbered mark "2" in the lower right corner in the engraving, and manuscript notation "110" in margin in the upper right corner. An old manuscript annotation in Greek characters under the right corner of the plate mark. Watermark visible by transparency. Tiny marginal foxing and stains, a tiny corner lack, a trace of corner fold, all without affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Maarten de Vos (or Martin), Antwerp 1532-1603, is a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. He is known for historical paintings in the Mannerist style, notably 'Saint Paul bitten by a viper on the island of Malta' (1568) which is in the Louvre museum in Paris.

Original engraving executed in burin by Harman Jansz van Muller.
Proof on watermarked laid paper, early 17th century work. This is an illustration of the Gospel according to Matthew 25.16-17, "Then he that had received the five talents went and traded with the same, and made them other five talents. And likewise he that had received two, he also gained other two."
Latin caption in the lower portion of the engraving.
Artist's signature in the plate.
Character mark "Z" at bottom in the engraving, numbered mark "2" in the lower right corner in the caption area, and manuscript notation "104" in margin in the upper right corner. An old manuscript annotation in Greek characters under the right corner of the plate mark. Watermark visible by transparency. Discreet marginal foxing, a small corner dampstain not affecting the engraving, a tiny corner lack, otherwise very fine condition for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and may have been his pupil.

Original engraving executed with burin by Harman Jansz van Muller.
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Matthew 25:18, "And he that had received one went and digged in the earth, and hid his lord's money."
Legend in Latin in the lower part of the engraving.
Artist's signature in the plate. Numbered mentions "3" at the bottom in the engraving and in the lower right corner in the section devoted to the legend, and manuscript mention "105" in the margin in the upper right corner. An old manuscript annotation in Greek characters under the right angle of the plate mark. Watermark visible by transparency. Rare and discreet foxing mainly marginal, light traces of marginal dampstaining not touching the engraving, a tiny corner lack, an old marginal restoration using a paper strip, otherwise very handsome state of preservation for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and was perhaps his pupil.

Original engraving unsigned, executed with burin, likely by Harman Jansz van Muller.
Proof on watermarked laid paper, work from the early 17th century. This is an illustration of the Gospel according to Matthew 25:19, "After a long time the lord of those servants cometh, and reckoneth with them."
Legend in Latin in the lower part of the engraving.
Numbered mentions "4" at the bottom in the engraving and in the lower right corner in the section devoted to the legend, and manuscript mention "106" in the margin in the upper right corner. An old manuscript annotation in Greek characters under the right angle of the plate mark. Watermark visible by transparency. Rare and discreet marginal foxing, light traces of marginal dampstaining not touching the engraving, a tiny corner lack, otherwise very handsome state of preservation for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and was perhaps his pupil.

Original unsigned engraving executed with burin, presumably by Harman Jansz van Muller.
Proof on watermarked laid paper, early 17th-century work.
This is an illustration of the Gospel according to Matthew 25.20-23, "And he who had received the five talents came forward, bringing five talents more, saying, 'Master, you delivered to me five talents; here I have made five talents more.' His master said to him, 'Well done, good and faithful servant. You have been faithful over a little; I will set you over much. Enter into the joy of your master.' And he also who had the two talents came forward, saying, 'Master, you delivered to me two talents; here I have made two talents more.' His master said to him, 'Well done, good and faithful servant. You have been faithful over a little; I will set you over much. Enter into the joy of your master.'" Latin caption in the lower part of the engraving. Numbered references "5" at the bottom of the engraving and in the lower right corner in the caption section, and manuscript notation "107" in the margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark visible by transparency. Rare and discrete marginal foxing, light stains and traces of marginal dampstaining not affecting the engraving, a minimal corner lack, otherwise very fine condition for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and may have been his pupil.

Original engraving executed with burin after a 16th-century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, early 17th-century work.
This is an illustration of the Gospel according to Matthew 25.35, "I was thirsty, and you gave me drink".
Latin caption in the lower part of the engraving. Artist's signature in the plate. Numbered reference "3" in the lower right corner of the engraving, and manuscript notation "111" in the margin in the upper right corner.
An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark visible by transparency.
Rare and minimal foxing and marginal stains, not affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Maarten de Vos (or Martin), Antwerp 1532-1603, was a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. He is credited with historical paintings in the Mannerist style, notably a 'Saint Paul Bitten by a Viper on the Island of Malta' (1568) which is in the Louvre Museum in Paris.

Original unsigned engraving, presumably executed with burin after a 16th-century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, work of early 17th century. This is an illustration of the Gospel according to Matthew 25.36, "I was sick, and you visited me".
Latin caption in the lower portion of the engraving.
Numbered notation "6" in the lower right corner within the engraving, and manuscript notation "114" in the margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark visible by transparency. Rare and minimal foxing and stains mainly marginal, one tiny corner loss, otherwise very fine condition for this extremely rare engraving of great freshness. Maarten de Vos (or Martin), Antwerp 1532-1603, was a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. He is credited with historical paintings in the Mannerist style, notably a 'Saint Paul Bitten by a Viper on the Island of Malta' (1568) which is in the Louvre Museum in Paris.

Original engraving executed with a burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, early 17th-century work.
This is an illustration of the Gospel according to Matthew 6-10, "Thy will be done on earth as it is in heaven" (the Lord's Prayer).
Latin caption in the lower portion of the engraving.
Artist's signatures in the plate. Numbered notations "3" at lower left in the engraving and in the lower right corner in the area reserved for the caption, and manuscript notation "49" in the margin in the upper right corner. Crown watermark visible by transparency. Minimal foxing and dampstains mainly marginal, small corner stains not affecting the engraving, one tiny corner lack, two skillful restorations using small pieces of filmoplast on the verso, otherwise very fine condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed in burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Matthew 6-11, "Give us this day our daily bread." (from the Lord's Prayer).
Latin caption in the lower part of the engraving.
Artist's signatures in the plate.
Numbered mention "4" in the lower right corner within the engraving, and manuscript notation "50" in the margin in the upper right corner. Crown watermark visible by transparency. Minimal foxing and dampstains mainly marginal, small corner stains not affecting the engraving, one skillful restoration using a very small piece of filmoplast on verso, otherwise very fine condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1st, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original unsigned engraving, executed in burin, probably after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Matthew 6-12, "Forgive us our trespasses, as we also forgive those who trespass against us." (from the Lord's Prayer).
Latin caption in the lower part of the engraving. Numbered mention "5" in the lower right corner within the engraving, and manuscript notation "51" in the margin in the upper right corner. Crown watermark visible by transparency. Minimal foxing and dampstains mainly marginal, small corner stains not affecting the engraving, two skillful restorations on verso, one old repair using a similar paper strip, the other using a filmoplast strip, otherwise very fine condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1st, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed in burin by Claes Jansz Visscher, known as Piscator.
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Luke 16.19-21, "There was a rich man, who was clothed in purple and fine linen, and who feasted sumptuously every day. And at his gate lay a poor man named Lazarus, covered with sores, who desired to be fed with what fell from the rich man's table; moreover the dogs came and licked his sores." Latin caption in the lower portion of the engraving.
Another Latin inscription in the upper right portion of the plate: "Iesus apostolos docens de divite epulone parabolam dicit." Artist's signature within the plate. Notation "K" in the upper left corner within the engraving, numbered notation "1" in the lower right corner within the engraving, and manuscript notation "80" in margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Crown watermark visible by transparency. Rare and minimal marginal foxing, small corner stains not affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness.

Unsigned original engraving, probably executed in burin by Claes Jansz Visscher, known as Piscator.
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Luke 16.22, "The poor man died, and he was carried by the angels into Abraham's bosom."
Latin caption in the lower portion of the engraving.
Numbered notation "2" in the lower right corner within the engraving, and manuscript notation "81" in margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Crown watermark visible by transparency. Rare and minimal marginal foxing, small corner stains not affecting the engraving, a minimal corner lack, otherwise very fine condition for this extremely rare engraving of great freshness.

Original unsigned engraving, executed with burin, probably by Claes Jansz Visscher, known as Piscator.
Proof on watermarked laid paper, early 17th century work.
This is an illustration of the Gospel according to Matthew 2-12, "Then, being divinely warned in a dream not to return to Herod, they departed to their own country by another way."
Latin caption in the lower part of the engraving. Numbered mention "12" in the lower right corner within the engraving, and manuscript mention "17" in margin in the upper right corner. An old manuscript annotation in Greek characters under the right corner of the plate mark. Crown watermark visible by transparency. Minor foxing and marginal stains, small corner dampstains, one tiny hole, all without touching the engraving, otherwise very fine condition for this extremely rare engraving of great freshness.

Original engraving executed with burin by Harman Jansz van Muller, after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Matthew 5-4, "Blessed are those who mourn, for they will be comforted!" (the second of the eight beatitudes, pronounced by Jesus during the Sermon on the Mount).
Latin inscription in the lower part of the engraving: "Macte animo, pastus fletu quem, moeror & eger Luctus agit; nam te solamina grata manebunt. Rore rigat plantas Christi lachrymosa fideli Magdala, hinc venia & sequitur lustratio mentis.". Artists' signatures in the plate. Numbered mention "2" in the lower right corner of the engraving, and manuscript notation "40" in the margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark of a crown visible by transparency. Minimal foxing mainly marginal, small corner dampstains, without affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1st, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and may have been his pupil.

First edition, printed in very small numbers at the author's expense.
Inscribed by Marguerite Durand-Viel Rousseau.
Spine and boards very slightly and marginally faded, otherwise handsome copy.
We include with this copy an autograph letter of 2 pages recto-verso from the author providing explanations about the book's content and the poetic approach associated with it.
Rare ensemble.

First edition not put into commerce, of which there were no deluxe copies.
Half mouse-colored morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Autograph signature of the author.
Rare and very handsome copy perfectly established.
Provenance: from the collection of Swiss Romand poets by Albert Natural which he formed from the nineteen twenties.

First printing of this illustrated edition whose translation by Abbé Desfontaines was first published in 1729. One frontispiece, 5 figures for volume I and 6 for volume II, including the plate entitled Conclusion which is often lacking, and 10 title headpieces. The plates are unsigned. A handsome edition, well printed.

Contemporary full marbled glazed calf binding. Smooth spine decorated (grape cluster tools). Red morocco title and volume labels. Triple fillet frame on boards. All edges gilt. 2 corners slightly bumped. Handsome copy.

L'Histoire Ethiopique is undoubtedly, along with L'âne d'or by Apuleius, the most famous of the Latin and Greek novels, and it is the only one to be the origin of the adventure novel; the plot is simple, two lovers whom life's vicissitudes will constantly separate; the book accumulates twists of fate and gave birth to abundant literature, especially in the 18th century.

19th-century engraved armorial bookplate of Baron de Fleury; manuscript ownership inscription of Jules Bobin at the top of the first endpaper.

First edition, rare.
The second part bears the title: Analysis of some good philosophical works, preceded by Reflections on criticism.
Contemporary full glazed marbled blonde calf binding. Smooth decorated spine. Red morocco title label. Triple fillet frame on boards and large arms struck at centers. Very fine copy. The second part has its own title page, as well as its half-title.
With the arms of the Princess de Ligne, Henriette-Anne-Eugénie de Béthizy de Mézières, wife of Prince Ligne (Claude Lamoral Hyacinthe Ferdinand, Marquis de Moy et de Dormans). Olivier I, pl. 15: two conjoined shields: I, grand quarters of Lorraine; overall: party, 1st or a bend gules (Ligne); 2nd, Lorraine simple; II, azure fretty or of six pieces (Béthizy). It should be noted that feminine arms are usually much rarer than masculine ones.
Freron's literary journal (declared enemy of the philosophers' party and principal target of Voltaire) had enjoyed considerable success since its creation in 1754, it still appeared in sheet form, later to form volumes. LE PREVOST D'EXMES establishes a formal critique of the periodist Freron and of the Literary review. Freron not only vilified the philosophers but the literature of his time. The second part, more philosophical, defends the cause of the philosophers and the work of several authors such as Diderot and Rousseau. Behind the criticism of Freron's enterprise, an ethics of writing and criticism is revealed. The work is composed in the form of letters addressed to a lady in London.
A very useful table of contents makes it possible to find the themes and reflections addressed as well as the authors.

Lithograph on thick vélin paper printed in 300 numbered copies and signed in pencil by the artist.

Unique silver gelatin print of this superb original photograph showing the New Caledonian writer in the bush, dressed in Aboriginal attire and carrying fine spears.
Very fine photograph without any defects, presented in frame.

Doctoral thesis in medicine, defended by the author in 1847.
First edition.
Half dark green cloth binding, title and author's name gilt to spine, "S de B [Société de Biologie] at foot, marbled paper boards, contemporary binding.
Autograph inscription signed by Jean Nicolas Demarquay.
Some rare marginal foxing of no consequence. Handsome copy, rare.
Jean Nicolas Demarquay (1815-1875), surgeon, presented his doctoral thesis in medicine, Recherches expérimentales sur la température animale, in June 1847. He was chief surgeon at the Dubois nursing home. He was interested in hypnotism and published numerous works on surgical procedures. Great friend of Auguste Duméril, physician, member of the Institute and of the Royal Academy of Medicine, he published with him and with Lecointe a pamphlet entitled Recherches expérimentales sur les modifications imprimées à la température animale par l'introduction dans l'économie de différents agents thérapeutiques, in 1852.

Extremely rare copy of the very first printing, without title page, containing a "typographical rarity" whose origin is related by the author in a two-page autograph letter addressed to Miguet, inserted on the endpaper: in order to save about fifty pages on the printing of Henry Bataille's complete Theatre, the publisher Flammarion composed the text of the two plays in volume II by having the names of the characters, placed at the head of each line, immediately followed by the text of the dialogue. Only two or three copies (including ours) composed in this way, from the final proofs, were printed.
Half chocolate morocco binding with corners, spine with raised bands, one minute scratch in a compartment, cold fillet framing the marbled paper boards, top edge gilt on deckled edges, binding signed Canape.
Signed autograph inscription from Henry Bataille on his visiting card, pasted onto an endpaper.

First French edition of the Essay on Man translated by Etienne de Silhouette, and second edition of the Turkish Letters first published in 1730, by the same publisher in Cologne.
Modern full parchment paper boards binding. Black sheep title label.
Pope's Essay on Man, a philosophical poem, is translated in prose, and is preceded by a long preface by the translator. In the Turkish Letters, Saint-Foix was inspired by Montesquieu's model (who himself was inspired by Manara's Chinese Spy model), but while the Letters follow the same principle, they do not contain, as in Montesquieu, the lengthy descriptions; they are entirely devoted to narrative and to the comparison of manners and customs among the French and the Turks.

Second edition, ostensibly published by the same publisher as the first in 1759, with the same collation. Novel published anonymously and purported to be translated from English (it would later be translated by Frances Brooke, with whom the author was acquainted).
Contemporary marbled sheep binding. Spine with raised bands, decorated. Red morocco title label. One corner bumped and worn. Rubbing.
Marie-Jeanne Riccoboni (1713-1792) was, after being a mediocre actress by necessity, a novelist highly appreciated in her time, to such an extent that her peers refused to acknowledge that the author was a woman. Her first novel was an immediate success and the following ones were even better received, praised for the fineness of style and interest of details, placing Madame Riccoboni among the best novelists of the 18th century.

NB: This work is available at the bookshop on request within 48 hours.

New edition of Raynouard's Templier, illustrated with a frontispiece representing the Grand Master of the Templars. The Cornelian grandeur of the play, which exalts liberty and virtue, earned it Napoleon's support, a triumph in theater and bookshop, and his entry into the French Academy in 1807
First edition of Dorat's Regulus, illustrated with a figure, a vignette and a tailpiece by Eisen, engraved by Longueil.
New edition of Voltaire's Irene, same year as the original but the title ornament is different, and the author's last play, at 84 years old.
New edition of Picard's Un jeu de la fortune.
First edition of Collin d'Harleville's Artistes, containing a signed inscription as well as the author's autograph signature.
First edition of Précis historique des Templiers.
Contemporary full marbled sheep binding. Smooth spine decorated with 3 tools and roulettes. Red morocco title and volume labels. Rubbing.

The first edition dates from 1662, with the date 1663 on the title page. It was published again in 1674 then in 1679. Title page with sphere. Elzevir edition. Rare.
Full burgundy morocco binding early 20th century Jansenist style. Date at foot. Decorative gilt board-edges. 18th-century endpapers preserved. Light dampstain to the last two leaves. Very handsome copy.
L'étourdi is considered one of Molière's first true plays, in which he creates for the first time the character of Mascarille. He first performed it in Lyon in 1653, then in Paris in 1658, and only obtained a privilege to have it printed in 1660.

The rare first edition of this small literary farce signed by E. Desormes, Edouard Kuhn, Matrat, Anatole Huot, Favory, Marc Gilland, D. Mon, Martial Teneo, Renaudot, Jamet, René Asse, Edmond Brouard, Vogt, Eugène Sédard, Paul bru, Auguste Milton...
Amateur binding in imitation leather pasted over the covers.
Dampstaining affecting the first leaves, occasional foxing.

First edition, illustrated with two color frontispieces and a large folding table on the Apocalypse.
Contemporary anthracite boards.
Smooth spine with mute green title-label.

NB: This book is available at the bookshop upon request within 48 hours.

First editions of these 5 texts concerning Jansenism and Parliament. The collection forms a rare ensemble.
Contemporary full blonde calf binding. Decorated raised spine. Red morocco title label. Corners slightly bumped. Good copy.
To understand the significance of these editions, it is necessary to go back a little in history: The papal bull Unigenitus (1713) takes up and perfects the various bulls against "Jansenist heresy" by particularly condemning the theses of Quesnel and Arnauld, it would give rise to a religious dispute in France that would gradually worsen into a major political crisis over confession tickets and refusal of sacraments to those who opposed the bull. Not only would the French clergy be divided, but Parliament itself would go on strike and oppose the king in this matter, who had ordered the application of the bull. The confrontation between parliament and the king would last more than 20 years. The bull Unigenitus gave new vigor to a moribund Jansenism, thus causing the opposite effect.

First edition.
Novel published anonymously and claimed to be translated from English. It would in fact later be translated into English by Frances Brooke, with whom the author was in contact.
Contemporary full marbled blonde calf binding. Decorated spine with raised bands. Red morocco title label. Lower joint cracked at head along the first compartment, one corner bumped and worn.
Marie-Jeanne Riccoboni (1713-1792), was, after having been a mediocre actress by necessity, a novelist highly appreciated in her time, to such an extent that her peers refused to acknowledge that the author was a woman. Her first novel had immediate success and the following ones were even better received, praised for the fineness of style and the interest of details, placing Madame Riccoboni among the best novelists of the 18th century.
NB: This work is available at the bookshop on request within 48 hours.

First edition. The medical journal published by order of the king appeared successively from 1782 to 1789. The copy we present is noted third issue. Privilege for this third issue at the end of the work. Each issue formed a separate volume.
Contemporary pamphlet, under cream paper.
This third issue contains various articles: Medical Topography of Longwy, Observations on the use of cinchona in intermittent fevers, Observations on a gangrenous dissolution, Observations on a head wound.

Second edition with some parts in first edition, after the original edition of 1770, which contained only 3 volumes. A large folding map in volume I of London and the cities and suburbs of London and Westminster.
Contemporary full marbled glazed calf bindings. Smooth spine decorated. Red morocco title labels. Some surface wear and tears with losses, but good overall condition, decorative.
Travel account, departing from Boulogne and continuing to London with a detailed study of customs, habits and all aspects of society: the poor, jurisprudence, the clergy, the arts, the navy, horse racing, commerce 371pp. (...and particular chapters on melancholy, considered as a characteristic of the English, and how this has contributed to their genius in the arts or sciences.

First editions of these four literary hoaxes.
Half fir green shagreen binding, smooth spine decorated with gilt romantic ornamental motifs with some traces of rubbing, a tiny hole at the foot of one joint, paper boards, contemporary binding.
Autograph inscription by Alexis Rousset on the first volume.
Some light foxing.

First edition. Rare.
Half red percale binding, mid-19th century. Gilt title. Anonymous libel that appeared the day after the Duke of Luynes, favorite of Louis XIII, was made Constable. He is accused of all the evils that have befallen France since Louis XIII, and of serving only his own interests by ruining France and abusing so young a king. Charles d'Albert was made Duke of Luynes in 1619, and was the first of this line. Luynes nevertheless served the king skillfully by enabling him, through his intrigues against Marie de Medici and Concini, to accede to power, but gathering all the king's favors, he was hated by the people and many politicians such as Richelieu.

First edition.
Spine sunned with some lacks, covers marginally faded. Iconography.

First edition. Illustrated with three frontispieces by Marillier finely engraved by Le Beau. 4 musical airs notated on several plates.
Half vellum binding from the early 19th century with small corners. Smooth spine. Black title and volume labels framed with thick gilt fillets.
Medieval novel set during the reigns of Louis XI and Charles VI inspired by tales and fabliaux of the twelfth and thirteenth centuries. The author explains his choice of vocabulary and archaic style in a long preface on the novel and observations on medieval tales and fabliaux and the troubadours of Provence, followed by a discourse on the novel.
Charles Joseph Mayer (1751-1825), French writer and editor of Cabinet des fées, whose critical role was important for the rediscovery of ancient literatures. Les Aventures is perhaps the first attempt at a pastiche of a medieval novel resonating with accents of a new modernity.

First edition. The first two volumes appeared in 1755 and the last, by abbé Jean-Baptiste Cadry, dates from 1757. Cadry indeed completed this work that M. de Caylus had left unfinished due to his death in 1754. Not held by the British Library and absent from English catalogues.
Contemporary full marbled calf bindings. Richly decorated raised band spines. Red morocco title labels and black calf volume labels. Red edges. One corner slightly bumped. Handsome copies.
Beyond the precisely theological criticism (Incarnation, Trinity...) the first volume contains numerous details on heresies. The work should be classified in a library of Jansenism, whose vision of human nature (close to Calvinism, fatalistic) could not have accommodated that of father Berruyer, a Jesuit. The work illustrates the quarrels not only theological but ontological between Jansenists and Jesuits.